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NO TIME TO DIE (2021) - Discuss Hans Zimmer's Score

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  • DeerAtTheGatesDeerAtTheGates Belgium
    Posts: 524
    Pierce2Daniel wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    Listen, I like Zimmer as a composer, and I hope he does a good job with NTTD. And if it's good, I'd like him to return. If Christopher Nolan ever makes a Bond film, Zimmer would be the number one go-to guy.

    But I have never, ever, ever heard Zimmer was the heir apparent. Never. Yes, some of the fan base have been clamouring for him to do the music one day, but not a single person who's involved with making the Bond films has ever said anything along the lines of "We'd like to have him". So it's not clear how long Zimmer's been on EON's wish list, or if he even was on there to begin with.
    You can say Nolan is kinda the heir apparent when it comes to the director's chair, as we know that he himself might like it, EON thinks highly of him, has met with him to discuss things and he might very well come back into the conversation for Bond 26.

    But Zimmer? There's nothing that points to EON trying to actively get him for the gig, let alone EON trying to get Zimmer to finally get rid of Arnold, as you're suggesting.

    As far as we know, Arnold is still close to members of the Bond family, and EON isn't the company to just unceremoniously dump anyone.

    And when Bond 26 comes around, there are a lot of factors that come into play. Zimmer could very well come back for the next one, as long as he wants to, EON liked his scoring on NTTD and wants him back, and he's available. Same goes for Arnold: he'll be back if he's available and if EON wants him. And it also depends on the director: whoever directs Bond 26 could bring his/her own familiar composer to the fold, too.

    But Bond 26 is a long way off. Nothing is certain. But let us now first enjoy the road to NTTD and the film itself, shall we?
  • jetsetwillyjetsetwilly
    Posts: 3,327
    CraigMooreOHMSS wrote: »
    Pierce2Daniel wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    giphy.gif

    That depends on whether he succeeds and returns for another after this one, surely?

    And if that ends up being the case, it's not just true for Arnold, it goes for almost every other potential name that has been mentioned in this thread for the last year or so. I'm not so sure that's a good thing either. There's a lot of talented names there.

    The only concern I have with Zimmer being made a permanent fixture is the Bond soundtrack no longer being a unique piece when compared to other action films, as everything Zimmer touches can start to sound similar when it comes to the action genre.

    And lets face it, there isn't much left in Hollywood that doesn't have the Zimmer stamp on.

    At least when Barry was at the helm, the Bond scores were truly unique when compared to everything else at that time, and you could say arguably that Arnold continued that fashion too (if you ignore the techno action pieces he occasionally wrote). Arnold tried to create a Bond score that sounded like a Bond score, which ultimately meant it sounded like John Barry.

    I cannot see Zimmer giving us a Barry sounding track, but instead another Zimmer sounding track. For many here that may be a good thing, but in the long run I'm not so sure. I don't want Bond sounding just like every other film out there.
  • boldfingerboldfinger
    Posts: 5,767
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?
  • MakeshiftPythonMakeshiftPython “Baja?!”
    edited January 2020 Posts: 8,180
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.
  • jetsetwillyjetsetwilly
    Posts: 3,327
    Pierce2Daniel wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    giphy.gif

    I'm not sure where you get your info from that Zimmer has been the heir apparent for a long while. By who? EON? The fans?

    And where do you get your inside info from that Arnold will never return? Or is that more wishful thinking on your part...
  • GatecrasherGatecrasher Classified
    Posts: 265
    I’m stoked at the news of Hans Zimmer! From Crimson Tide, Gladiator, the PotC series, Inception, and the Batman trilogy, he’s been consistent: big, thunderous, and grand in sound. He can go lush when need be (Black Rain, Days of Thunder, The Last Samurai) but also creates wonderful themes (The Lion King and Pearl Harbor come to mind). Basically, the dude’s a legend and I’m just looking forward to his interpretation of the Bond sound.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Source?
  • boldfingerboldfinger
    Posts: 5,767
    jetsetwilly wrote: »
    Pierce2Daniel wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    giphy.gif

    I'm not sure where you get your info from that Zimmer has been the heir apparent for a long while. By who? EON? The fans?

    And where do you get your inside info from that Arnold will never return? Or is that more wishful thinking on your part...
    Judging by what he usually posts, yes, wishful thinking formulated like it was actual information.
  • mtmmtm United Kingdom
    Posts: 16,344
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    Shaken and Stirred likely convinced EON he could do a contemporary pop song with an artist, but I never read about it being cited as a reason for hiring as a composer, hence ID4 being the big factor.
  • antovolkantovolk
    Posts: 3,164
    MakeshiftPython wrote: »
    Shaken and Stirred likely convinced EON he could do a contemporary pop song with an artist, but I never read about it being cited as a reason for hiring as a composer, hence ID4 being the big factor.

    Actually at the recent Q&A for TWINE at the BFI as part of James Bond Day, Arnold did say that he likes to think it was Shaken and Stirred, and getting Barry's blessing for that.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    That’s what Arnold says, and yet Broccoli says it’s ID4. But it might as well be both.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    antovolk wrote: »
    MakeshiftPython wrote: »
    Shaken and Stirred likely convinced EON he could do a contemporary pop song with an artist, but I never read about it being cited as a reason for hiring as a composer, hence ID4 being the big factor.

    Actually at the recent Q&A for TWINE at the BFI as part of James Bond Day, Arnold did say that he likes to think it was Shaken and Stirred, and getting Barry's blessing for that.

    I'm sure in reality it was probably both that sealed the deal for him.
  • DeerAtTheGatesDeerAtTheGates Belgium
    Posts: 524
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."
  • mtmmtm United Kingdom
    Posts: 16,344
    MakeshiftPython wrote: »
    That’s what Arnold says, and yet Broccoli says it’s ID4. But it might as well be both.

    I can’t imagine it hurt that he’d rewritten big suites of Bond orchestral stuff for that album! :) Something like Play Dead likely didn’t make them think he was unsuitable either.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    DeerAtTheGates wrote: »
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."

    Thanks for sharing a fact.
  • ResurrectionResurrection Kolkata, India
    Posts: 2,541
    DeerAtTheGates wrote: »
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."

    Didn't knew that thanks
  • bondbat007bondbat007
    Posts: 1,407
    Resurrection wrote: »
    DeerAtTheGates wrote: »
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."

    Didn't knew that thanks

    If that's true, then there's still no reason to not include more of Smith's song into SP as that was recorded in January of 2015 at the start of filming. I just don't think he wanted to use anything that wasn't his own work. Oh well. Will always love TN as a composer, just not really for Bond
  • ShakenNotStirredShakenNotStirred
    edited January 2020 Posts: 1,397
    Zimmer = Good news for NTTD! I would have liked him to come onboard a Bond picture even in the Brosnan days.However it is great he is with us for Craig's final film.

    I also wouldn't count David Arnold out just yet for future productions..
  • ResurrectionResurrection Kolkata, India
    edited January 2020 Posts: 2,541
    bondbat007 wrote: »
    Resurrection wrote: »
    DeerAtTheGates wrote: »
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."

    Didn't knew that thanks

    If that's true, then there's still no reason to not include more of Smith's song into SP as that was recorded in January of 2015 at the start of filming. I just don't think he wanted to use anything that wasn't his own work. Oh well. Will always love TN as a composer, just not really for Bond

    But it was indeed included no matter how much duration in the train scene briefly.

    Found this video of zimmer, not a fan of his score from TDK but enjoyed this one.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    My Non Sense on the matter of Hans Zimmer being brought on board..

  • bondbat007bondbat007
    Posts: 1,407
    I'm surprised I haven't heard many people talk about Zimmer's Pirates scores. To me, those are the best of the bunch. Seeing him live, that score was the highlight of the night for sure
  • ZekidkZekidk
    edited January 2020 Posts: 3,274
    HASEROT wrote: »
    My Non Sense on the matter of Hans Zimmer being brought on board..
    "I am afraid that he will use that Batman sound"

    That would be excellent, IMO. Horns, brass, strings, piano.



  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    bondbat007 wrote: »
    Resurrection wrote: »
    DeerAtTheGates wrote: »
    mtm wrote: »
    MakeshiftPython wrote: »
    boldfinger wrote: »
    MakeshiftPython wrote: »
    Pierce2Daniel wrote: »
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
    Did Arnold make his calling card album Shaken not Stirred before or after he got the TND gig?

    It was before, but given that it was a cover album I don’t think that interested EON in him as a composer, which is why the Grammy winning ID4 album caught their interest instead.

    I’m fairly sure I remember they got to hear Shaken and Stirred early (it wasn’t released long before TND as I remember) and that sealed the deal for them. Did Barry even recommend him based on having to okay the tracks from the album? I’m not sure. Long ago! :)
    suavejmf wrote: »
    Getafix wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    I don’t think there’s any reason to think that, no.
    battleshipgreygt wrote: »
    GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Why? What a clown.

    Well, wait for some evidence to back that up first! :)

    I'm trying to find the appropriate quotes, but currently I've only found this, from a review of the SF score:

    "Because it was completed late in the production process, Newman's score could only utilize the theme in "Komodo Dragon," which was reportedly recorded after the rest of the score to specifically make at least one token reference to the song in Newman's contribution."

    Didn't knew that thanks

    If that's true, then there's still no reason to not include more of Smith's song into SP as that was recorded in January of 2015 at the start of filming. I just don't think he wanted to use anything that wasn't his own work. Oh well. Will always love TN as a composer, just not really for Bond

    That doesn’t prove that he never wanted to include title songs on his scores. That’s just fan speculation.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    edited January 2020 Posts: 4,399
    Zekidk wrote: »
    HASEROT wrote: »
    My Non Sense on the matter of Hans Zimmer being brought on board..
    "I am afraid that he will use that Batman sound"

    That would be excellent, IMO. Horns, brass, strings, piano.



    Those first 2 Nolan Batman movies were also partially scored by James Newton Howard- I am convinced that is where a lot more of those melodies come from... Either way, it still doesn't change the fact that 4 months is not a lot of time and my fear is that this will be a rushed copy & paste job with some Bond cues sprinkled in for good measure.

    And like I said, agree to disagree, I'm glad you are excited (and who knows I might be surprised with what he does).. But I've always considered Zimmer the McDonalds of film music.
  • MinionMinion Don't Hassle the Bond
    Posts: 1,165
    HASEROT wrote: »
    Zekidk wrote: »
    HASEROT wrote: »
    My Non Sense on the matter of Hans Zimmer being brought on board..
    "I am afraid that he will use that Batman sound"

    That would be excellent, IMO. Horns, brass, strings, piano.



    Those first 2 Nolan Batman movies were also partially scored by James Newton Howard- I am convinced that is where a lot more of those melodies come from... Either way, it still doesn't change the fact that 4 months is not a lot of time and my fear is that this will be a rushed copy & paste job with some Bond cues sprinkled in for good measure.

    And like I said, agree to disagree, I'm glad you are excited (and who knows I might be surprised with what he does).. But I've always considered Zimmer the McDonalds of film music.

    You're assuming he's only just begun work on NTTD, and regardless, 4 months is how much time Zimmer had for BR2049.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    I heard Zimmer has been working on NTTD for a month. So probably at least a month. I'm not worried about him having enough time.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    Minion wrote: »
    HASEROT wrote: »
    Zekidk wrote: »
    HASEROT wrote: »
    My Non Sense on the matter of Hans Zimmer being brought on board..
    "I am afraid that he will use that Batman sound"

    That would be excellent, IMO. Horns, brass, strings, piano.



    Those first 2 Nolan Batman movies were also partially scored by James Newton Howard- I am convinced that is where a lot more of those melodies come from... Either way, it still doesn't change the fact that 4 months is not a lot of time and my fear is that this will be a rushed copy & paste job with some Bond cues sprinkled in for good measure.

    And like I said, agree to disagree, I'm glad you are excited (and who knows I might be surprised with what he does).. But I've always considered Zimmer the McDonalds of film music.

    You're assuming he's only just begun work on NTTD, and regardless, 4 months is how much time Zimmer had for BR2049.

    You're absolutely correct, I am assuming.. That's all there is to do is assume. Lol.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    I have Complete trust in Zimmer....even with the time he has to score the film. Newman started working on SP during filming....and look at the score we got.
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