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And this one comes even with a tutorial...
And if you look for "epic and dramatic music" on Google, this one is, what pops up firt:
I'm afraid there won't be much difference between the two between now and April. B-)
Was about to say the same. Or he has to watch the movie with earmuffs. ;)
:) Indeed....and it might be re-named The Hans Zimmer Appreciation Thread afterwards....coz we will very much come to appreciate him once NTTD is released.
Watch out, Beatles about
Haha! :D
I hope so. I want an arrangement of the Bond theme that is specific to this particular film the way George Martin did for LALD, Conti, Kamen and others. John Barry also tweaked his arrangements of the Bond them from time to time.
Totally agree. David Arnold’s arrangement of the been James Bond Theme has been done to death since “Tomorrow Never Dies”. I’m anxious to see what Hans Zimmer’s interpretation will be.
The first part of this sounds like what was used for the Prometheus trailer. LOL
My bet is that Zimmer will do his stuff, but EON will insist on including the arrangement from CR in order to give some musical consistency between all five films for Craig. This makes sense, given that Craig's films were more interconnected than the standalone films of the past.
If that happens, I suspect they'll retire that arrangement of the theme for the next actor.
I agree. I was really hoping to get a new arrangement from Newman (and I suppose technically we got a slightly different one) but I think Arnold’s arrangement will be the one musical connecting piece of Craig’s films. I’d love to hear what Zimmer’s arrangement would sound like but at this point I’m not expecting a full blown one from him.
You know for a fact it'll appear. Don't get your hopes up! This is all Arnold's fault! :P
;)
I'm not sure a statement from EON with a small quote from Cary Fukunaga saying he likes the new score is proof of his real feelings at all.
Whenever a public shakeup happens on a prominent movie, studios will always put out press releases where the director talks about just how much he approves of the producers' changes.
The film business is a tough one to work in and getting into very public spats with the most powerful people in it is not usually considered a great move if you want to get gigs.
Given that Cary had collaborated with Romer on his previous two projects and let him work on the movie for around half a year, I find it unlikely that he was blindsided by what he heard.
Yeah, true....it's possible. But for the sake of optimism, I really don't mind being delusional....coz I really want NTTD to be a classic Bond film.
None of the above, however, immediately necessitates a score that's high on melody. As an example, let's take the gipsy camp fight in FRWL. Barry wrote '007', but only the relatively a-melodic hook (and not the big "007 Theme") of that track was used in repetitive mode during that particular sequence. And it works very well. Sometimes, a score can thrive on thrills provided by something else than melody. Especially in the horror, thriller and action genres, a-melodic or even totally dissonant music can prove far more effective for some scenes than symphony and harmony. A simple food analogy would go a little like this: steak is good, but sometimes, so is pizza. I will agree, though, that we're having a lot of pizza these days, and that's not really healthy. ;-) Of course, examples and counterexamples can always be found, which is why the best we can ultimately hope for is that a gifted composer play not by rules but by his gut feeling.
Enter Hans Zimmer. Calling Zimmer a composer who doesn't care about melody would be wrong. Throughout his career, he's written several high-melodic scores, from Black Rain over The Lion King over King Arthur over The Da Vinci Code to Pirates OTC 2 and 3, for example. In truth, he likes to repeat his themes, but then so did Barry, and there's nothing wrong with that. But Zimmer has also gone dark on melody at times. The fact that he wrote a 2-note theme for Batman and a 1-note theme for Joker says it all; except that in this case, along with Inception and Dunkirk for example, I'm confident that he was being neither lazy nor uncreative but simply following the DNA of the story as architectured by Nolan. The 1-note Joker theme in TDK perfectly matches the character's nihilism and lack of backstory. We don't understand the character (which he barely is) and neither do we understand the music (which it barely is). It's a perfect match. Shirley Walker's pleasantly melodic Joker theme from Batman: TAS would not have worked well for this iteration of the character.
So for NTTD, I think we should keep our fears locked away until we've actually heard Zimmer's score. I used to be angry with him for always pushing the same sounds into our '90s action movies, but Zimmer has matured since then. He doesn't merely (have his factory) produce a score to pay the bills; he actually thinks about his music as being a complementary narrator along with the visuals and dialogues. I'm confident that he will not consider himself above James Bond and just drop some pre-fabricated, generic music on this film only to please the lowest common denominator in the audience. Instead, I think he will try to make this a big part of a film that's shaping up very well to become a serious collection of really "big parts". I'm sure that Zimmer will bring his A-game to this effort, seeing that this might very well be his only chance ever at doing a genuine Bond score. Zimmer is also known to be a bit of a shape-shifter; he doesn't stick to just one or two styles. Interstellar sounds nothing like True Romance; Gladiator sounds nothing like Amazing Spider-man 2; The Ring sounds nothing like Sherlock Holmes. Even with only a few months left, Zimmer may yet come up with a new style, perhaps something both retro and new, something that both goes back as well as forward in time. Maybe he won't drag "that obvious Bond sound" with him like a curse, but rather elevate it to something the likes of Arnold and Newman were unequipped to handle. Maybe... We'll see, I guess.
Either way, I'm more on the confident than on the fearful side right now. And I'm glad that we've got a 60-something Zimmer doing this rather than a 30-something wild and unchained Zimmer. This may work out fine. No point in us getting worked up before we've heard anything.
As a famous musician once said “melody isn’t everything”.
Nolan is a lead-pipe cinch for B26.
Excellent.
Case in point - here's Nolan and Zimmer discussing the 'Interstellar'-score:
The NTTD score is going to be fantastic.
Aren't you a little fast with that conclusion? Zimmer isn't locked in some partnership with Nolan, is he? He isn't even scoring Tenet. Nolan isn't doing the next X-Men film either, as far as I can tell.
@Zekidk, that Zimmer is very professional in justifying what he does is in no way an indication of the quality.
At the same time, Nolan hasn't had talks about the X-Men franchise, but he has talked with the producers of the Bond films. Now, that doesn't mean he's a surefire choice for Bond 26, but I wouldn't be surprised if he meets BB and MGW again after Craig's tenure is officially done. Whether they want him too is something else.
But this is not the Bond 26 topic, I digress. Excellent post there, @DarthDimi, about Zimmer. I think that he as a composer can adapt to the needs of the films he's scoring. It's clear Nolan likes a very moody, minimalist soundscape with his films and Zimmer delivered that. It's a far cry from his melodic work for The Lion King or some themes in Pirates, or the epicness of a Gladiator.
And as a final thought, we know that the producers know what they want from a Bond film and have certain expectations about the score. If BB and MGW let Dan Romer go because his efforts were 'not Bond enough', do you all really think they let Zimmer compose something that does not sound melodic?
Exactly!