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https://thesoundofvinyl.com/*/*/No-Time-To-Die-The-Sound-Of-Vinyl-Exclusive-Picture-Disc-LP/74DA0000000
- Matera (We Have All The Time In The World)
- Good To Have You Back (OHMSS theme)
- Norway Chase, Poison Garden, The Factory and I'll Be Right Back (Gumbold's Safe motif)
Wait, Gumbold's safe is in there? I don't hear it, but those tracks do sound very "modern OHMSS-y" indeed.
The more time I spend with this score, the more I love it. And I'm loving the film itself along with it.
I'm sorry for those folks who aren't digging it. Hans' work is, honestly, 100% everything I wanted from this score and any modern Bond score -- embraced, brought to life, and dialed up to 11 at times. I'll cherish for the rest of my life (and the rest of my Bond fandom) the fact that we got this, now. Brilliant stuff IMO.
Enjoy, sir! I can assure you that will help with the sound/music greatly -- the layers and depth of the mix going on here are one of the score's special attributes. The higher quality I go to, the more I hear entirely new instrument parts that I didn't pick up off my iPod/Apple headphones combo.
For example, Hans repurposes the classic Bond theme guitar riff and uses it as a backing countermelody in numerous spots, to build "Bond arrival" momentum -- didn't notice in my first viewing of the film, but now they're all I hear and they just lift these tracks into heaven for me.
He even leans on that as an action bit. The last, like, entire minute of "Norway Chase" for example is -- as far as I can tell -- powered by the Bond theme, but disguised and reinterpreted in a very Zimmer way.
No one seemed to pick up on it during those initial listens on the MI6 forums last week, but honestly, the Bond theme is everywhere on this thing. Everywhere.
It's a bit too nondescript for me. Maybe the Zimmer name is saving him from the criticism thrown at Newman. Newman was slated for re-using motifs in SP from SF but at least they were his character motifs and not from John Barry.
I think the title song should have been edited for the title sequence - heck they cut the first verse of LTK - to get to the chorus quicker, all a bit of a slog. That and the tired credit sequence are a bigger downer than the film's ending.
I've always been fascinated by the way that they cut out that verse in the LTK credits. Then again they also cut out the intro, which I think is very different to how any other Bond theme begins.
The Zimmer/Newman comparison for re-using isn't fair at all, IMO. Newman (allegedly instructed by Mendes) lifted entire cues verbatim from Skyfall and put them into Spectre. Zimmer dips into brief OHMSS references 2-3 times, and each one with great emotional effect. (I'll admit I find it funny the way it's used under the Bond/M conversation -- brilliant to hear, but fairly unnecessary. Just a bit of wonderful fan service). But to me, there are completely different scenarios between Newman's reuse of Skyfall in Spectre and Zimmer's explicit references of OHMSS in No Time to Die.
I'm certain about its use in Norway Chase albeit a new rendition. The other three tracks I mentioned have the same ticking sound and I'd be surprised if it wasn't at least inspired by Gumbold's Safe, since Zimmer is already sampling OHMSS for the other tracks.
Can you point me to the specific spot(s) in Norway Chase you're thinking of?
Great soundtrack on the whole, I preferred the score having more callbacks than the actual film this time, although the timing of some cues felt odd
Didn't think of "secret room", but you're right. He should've used it.
5:14 -
4:11 -
The music starting at 0:55 into the track. It continues until around the 2 minute mark.
I'll agree that bit sounds very OHMSS-ish (the high-pitched Moog really hits that vibe, as the other poster points out) but I still don't hear Gumbold's safe specifically. That theme the synth is playing is the "danger theme" or whatever we're calling it that most of the score is built around. Repurposed a ton of times, in a ton of tracks.
Don't get me wrong though, the OHMSS vibe in that track and others is glorious. And very likely a conscious reference/homage. I just can't quite hear any spots where/how Hans is lifting it directly, other than the obvious ones in Matera and Glad to Have You Back.
The rest of the score, save for the return of.... left me feeling cold, just the same generic sounding music that could be from any other film.
I'd really like to know what those bonus tracks are.
They now appear in the end credits.
On this website where you can purchase the LP, you can find free mini samples of the tracks to listen to: https://www.juno.co.uk/products/hans-zimmer-no-time-to-die-soundtrack/767130-01/
I have just played the 4 bonus Q tracks in full. While short and atmospheric, they sound like demos and I don't recall them being in the movie itself. Unfortunately there is nothing major of note IMO - e.g. no new version of Bond theme etc.