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Would have loved Craig's last outing to be scored by Arnold. His two Craig scores are amazing and I think he would have produced another masterpiece for NTTD.
The first Zimmer score that caught my attention was Pacific Heights (going way back to 1990):
The only thing I didn’t like was the use of themes from OHMSS. Just pulled me right out of the film every time, just as the visual nods did. I get what they were trying to do. Evoke memories of that film before flipping the iconic ending on its head. So, I guess it’s too subversive to call outright fanwank. But I still wasn’t a fan. I think there’s been far too much nostalgia in the last few films.
I used to have that score on vinyl. Pretty good. My favourites of his are Gladiator, Dark Knight Rises and Inception.
Thank you for the heads up. I can't get this one out of my head:
Thanks. I wish that they would do this sort of playlist for the other movies.
I had Ruff Times by Norris Man as a track that was going to be used in NTTD. Did this one not make it?
https://www.youtube.com/channel/UC2cdsPmRbNVl8ebPVz8PGcw/videos
2) Yma Sumac - Incacho (Royal Anthem) Appears while Q is cooking
3) Pio Leiva - Ritmo de Mi Cuba - Appears in ????
4) Jah Buzz - Love In The Arena - Appears when Bond's car won't start and Nomi arrives to see if he wants a lift
5) Louis Armstrong - We Have All The Time In The World Appears in End credits
6) Andrés Emilio Cartaya - Golpe de Arpa
7) La Sonora Matancera - Cumbia De Buenaventura - Appears in the scene right after Bond gets off his boat in Santiago. He's walking through the street before meeting Paloma (thanks to mattjoes)
8) Shaggy - Money Up (feat. Noah Powa) - Appears in Nightclub when Bond talks to Felix at the bar
9) Buju Banton - Champion - Appears in Nightclub when Felix and Bond playing with coins while chatting
10) Sister Nancy - Bam Bam - Appears when Bond, Felix and Logan walk towards nightclub seeking 'a quiet place to talk'
11) Teacha Dee - Rastafari Way - Appears when Bond leaves his house and drives past Nomi on the side of the road before he bumps into Felix
12) La Boheme: Che gelida manina - Appears when Bond and Madeline in bed arriving at Matera
13) Louis Attaque - J't'emmène au vent - Possibly appears in the young Madeline Norway sequence, she is listening to it on her walkman?
14) Dalida - Dans la ville endormie - Appears with Young Madeline and her mother in pre-title sequence
Very cool for MGM music to have done this. I guess their licenses extended to using the songs for promotion, as well as in the film itself?
And given this soundtrack's popularity and sales, I have to believe that if there were ever a Bond score with a slam dunk case for a complete/expanded release at a later date, this would be the one.
I do hope the full score comes out in time - and Zimmer often produces suites for his works, so I was surprised we didn't get a fuller release of his take on the Bond theme, for example. Maybe there will be something to this effect too.
Going over some of the discussion on his official website (from folks who work/are connected with RCP), it seems that time on this project didn't allow for his conventional approach of creating suites and sketchbooks first.
No Time to Die is described there as having been a "2-3 month rescue mission" (not sure I fully believe that, though) which makes the end product all the more incredible to me. The implication is they basically had to move straight to scoring to picture vs. spending much time ideating in those sketchbooks like he did for Dune, or Man of Steel, etc.
If I remember correctly Eilish and her brother were provided access to the PTS in order to write the song, which is a kind of summary of emotional events from the CraigBond perspective, especially his feeling(s) of betrayal ["Fool me once, fool me twice"].
Yes, the influence of Arvo Pärt ... in Final Ascent, I can hear that, too.
I assume Arnold has never been invited back because he’s never been able to attract an Oscar nomination in five films despite EON’s campaigning. Once they got that taste with Newman, they were more inclined to look for other Oscar winning composers rather than bring back Arnold.
Very interesting - thank you for this. For reference this is the thread referred to:
https://hans-zimmer.com/discography/1/project/3496 if true it would explain a lot.
One other point raised is that perhaps Broccoli and Wilson don't want 'sketches' made public for brand purposes. Who knows?
@chrisesqetc Just came back from a second viewing. Cumbia de Buenaventura plays in the scene right after Bond gets off his boat in Santiago. He's walking through the street before meeting Paloma. It's the first piece of music that plays in that scene, and it's only heard for, what, five seconds? But it's there.
I also just noticed that in the film, the version of NTTD that plays when Bond is in Madeleine's house (titled Home in the soundtrack album) has no female voice, just the piano.
Also, this time I paid more attention to the end credits piece after Louis Armstrong. It begins with a part taken from Square Escape, and then goes through segments of other tracks, the last of which is Back to MI6. But after that, it appears to segue into Bond theme material that isn't in the soundtrack album.
Thanks for this @mattjoes ! Good spot - I have updated the list :) Interesting about the end credits piece. Was the latter piece of 'Bond theme material' a full lively rendition of the theme? I am hoping maybe one day a suite surfaces!
It was pretty energetic, but it wasn't that long, as far as I can remember. Back to MI6 crossfades into it, if I remember correctly.
We can get our greedy hands on this music after the home video release of the film. ;)
I'd also like to get that vocal-less version of Home. I can see why they removed the vocals for the film; the music would have overpowered the scene.
https://shop.decca.com/*/*/Bond-25/6Q8E0000000
2022
https://mega.nz/file/510DhSpT#haGdFvURweHvrJI3thnhXuiWI55GJIaR2i4-U_weJ_o
The implication is very much that Mazzaro wrote this rather than Zimmer. In the cinema I thought this was one of the best cues, particularly with that cello (very Johan Johannson), so I guess I shouldn't be surprised.
I still don't know how I'd rate the NTTD score alongside the five Arnold scores. I may prefer it to a couple of them, but I've only had a few headphones listens to NTTD. It's certainly inventive and layered enough to show there's some real thought gone into it. 'Final Ascent' (the penultimate track) is certainly better than anything Newman came up with, without a doubt. I think it'll be seen as a classic bit of Bond movie music in the years to come, but perhaps not yet.
If they hadn't wasted all those months using Romer and just got Arnold back, they wouldn't have had only a short time for Zimmer to produce a score. And no doubt we'd have got another amazing score from Arnold.
But like James Bond, Arnold will return 😁