› ›

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

1…141142144146147…151

Comments

  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,183
    How dare you say! Arnold is the heir apparent! The second coming! He should have absolute exclusive rights to Bond music until he literally drops dead! ;)

    But seriously, I’d be up for more Zimmer. However, I’d love to see a revolving door of different composers throughout the years. There’s so much talent out there that it would seem a waste to not bring in new blood.
  • AceHoleAceHole Belgium, via Britain
    edited November 2021 Posts: 1,731
    Justin Hurwitz is the only composer I feel could truly take on JBarry's mantle.

    This below is quite honestly the most moving, powerful and sublime piece of John Barry-eque film-scoring I have heard this century :



    He is one of few who can match Barry's intricate interplay, emotional nuance and layered orchestration - he could potentially deliver a new OHMSS or TLD score. Seriously.
  • Bentley007Bentley007 Manitoba, Canada
    Posts: 575
    AceHole wrote: »
    Justin Hurwitz is the only composer I feel could truly take on JBarry's mantle.

    This below is quite honestly the most moving, powerful and sublime piece of John Barry-eque film-scoring I have heard this century :



    He is one of few who can match Barry's intricate interplay, emotional nuance and layered orchestration - he could potentially deliver a new OHMSS or TLD score. Seriously.

    Completely agree!! He is the only reason I would entertain Damien Chazelle as director. Hurwitz needs to do a Bond score!
  • MeanwhileMeanwhile Brooklyn
    Posts: 34
    I’d love to see Hurwitz on Bond, especially after “First Man”. Brilliant score. Love to listen to it on vinyl.

    I’m happy with Team Zimmer for the most part but in an alternate universe I think he’d have been a great fit for NTTD.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,216
    AceHole wrote: »
    Justin Hurwitz is the only composer I feel could truly take on JBarry's mantle.

    This below is quite honestly the most moving, powerful and sublime piece of John Barry-eque film-scoring I have heard this century :



    He is one of few who can match Barry's intricate interplay, emotional nuance and layered orchestration - he could potentially deliver a new OHMSS or TLD score. Seriously.

    Beautiful score.
  • AgentM72AgentM72
    edited November 2021 Posts: 831
    petergreenhill5 wrote: »
    ShakenNotStirred wrote: »
    Arnold should return. It would be nice for him to at least compose the next Bond film for the reboot.

    I would be very surprised if Team Zimmer doesn't return for Bond 26.

    Sign me up.

    Hard to assume/predict exactly who should score it -- I mean, we don't yet know the substance of the film, its tone, the director or even the Bond actor. And the composer has to be the right fit with both said film and director. (I'd love to find out the real reasons, but I'm assuming Dan Romer's work was a fit with the latter but not the former, which led to the replacement).

    But, yes. A drum I'm sure I'll beat many times in the next few years: Any of Hans Zimmer, David Arnold, or Steve Mazzarro would be incredible choices in my book.
  • petergreenhill5petergreenhill5
    Posts: 824
    I know it's been discussed before but I've lost it in the body of this vast thread. Has anyone got the timings for each of the component of the end title music for No Time To Die. I'd like to have a go at reassembling it using Audacity. Thanks for any help.
  • battleshipgreygtbattleshipgreygt
    Posts: 1,220
    AceHole wrote: »
    Justin Hurwitz is the only composer I feel could truly take on JBarry's mantle.

    This below is quite honestly the most moving, powerful and sublime piece of John Barry-eque film-scoring I have heard this century :



    He is one of few who can match Barry's intricate interplay, emotional nuance and layered orchestration - he could potentially deliver a new OHMSS or TLD score. Seriously.

    Justin Hurwitz is fantastic and I love First Man both film and score, but I wouldn’t want them to go for something so on the nose Barry sounding. I’d love for Ludwig Goransson to give it a go, I think his experience in hip hop production is quite interesting and could provide some value for a really fresh new title song.
  • mattjoesmattjoes Julie T. and the M.G.'s
    Posts: 7,021
    petergreenhill5 wrote: »
    I know it's been discussed before but I've lost it in the body of this vast thread. Has anyone got the timings for each of the component of the end title music for No Time To Die. I'd like to have a go at reassembling it using Audacity. Thanks for any help.

    This is the only thing I remember that was posted about the end credits.
    vzok wrote: »
    This from memory is my stab at NTTD end credits

    https://mega.nz/file/510DhSpT#haGdFvURweHvrJI3thnhXuiWI55GJIaR2i4-U_weJ_o
  • FeyadorFeyador Montreal, Canada
    Posts: 735
    AgentM72 wrote: »
    Matt007 wrote: »
    I’ve had this on once every day for the last few days. I really really like it particularly the first half.

    For me the bond them (or at least the 3 note rising and descending motif) is everywhere. I think the main theme is rather too celebratory for a moment where bond suspects his girlfriend of trying to collide to murder him.

    That's a really good point, and I think it's a key reason why we don't hear it the way some people would like to.

    James Bond music has evolved for the modern era, just like the character. The "James Bond theme" in its original orchestration doesn't just fit like it used to.

    We all have wonderfully nostalgic memories of it being used under action scenes or Bond arriving somewhere, etc., in different times and different films. But it's such an inherently triumphant victory sound, that reprising it in its entirety just simply doesn't fit a lot of the actual scenes in the modern films that the score needs to support.

    At the end of the day, the directors/editors/composers have to use it where it's appropriate. I'm not saying you couldn't make it work in a modern Bond film, but I just think it would take some very, very tonally appropriate scenes to do it.

    You'd need a sustained 1:45 of action or celebration where James Bond is at his utmost cool/victorious/ready-for-on-the-nose-cheering. Craig's era simply hasn't contained a sequence like that. It's too, frankly, real. It allows for wonderful flourishes and references of it, but Craig's Bond simply doesn't step out of the dramatic stakes of the film for sustained periods in that way. The best and closest spot was, honestly, the end credits of CR after he said his name -- right where it was used.

    (...although I think a case could have been made to use it at the end of SPECTRE, instead of reprising the Skyfall arrangement...)
    Yes, thank you for this ... its triumphalist use in SF not long after the killing of Severine, who has died because she helped Bond, seemed completely wrong. And Bond's "waste of good scotch" comment is an added indignity.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited November 2021 Posts: 4,516
    Very happy it not turn in the Dark Knightmare i expect it going to be. My first thaught is that it close to QOS score, but mabey a bit of doubt about the soundmix. But with a first view everything going very fast. 7/10
  • mattjoesmattjoes Julie T. and the M.G.'s
    Posts: 7,021
    I wanted to compile a list of motifs and recurring themes used in the score, also mentioning in what tracks of the soundtrack album they can be heard. I also mention certain cues that are not in the album, in [brackets]. Explanatory notes and audio examples provided when considered necessary. Feel free to correct and add information by copying and modifying the post.

    James Bond Theme. Heard in:
    • Gun Barrel
    • Message from an Old Friend
    • Square Escape
    • Someone Was Here
    • What Have You Done?
    • Shouldn't We Get to Know Each Other First
    • Cuba Chase
    • Back to MI6
    • Norway Chase
    • Gearing Up
    • I'll Be Right Back (listen!)
    • Opening the Doors

    Action motif. Technically, this is also part of the James Bond Theme, but it's innovative enough that it should be classified separately. Heard in:
    • Square Escape (listen!)
    • Cuba Chase
    • Opening the Doors

    Action/mystery motif. Heard in:
    No Time to Die. Heard in:
    • Home
    • I'll Be Right Back (listen!)
    • No Time to Die

    We Have All the Time in the World. Heard in:
    • Matera
    • [Cue at the end of the film]

    Other motifs and themes
    • Theme from On Her Majesty's Secret Service, heard in Good to Have You Back
    • [Vesper's theme from Casino Royale]
  • AceHoleAceHole Belgium, via Britain
    Posts: 1,731
    mattjoes wrote: »
    I wanted to compile a list of motifs and recurring themes used in the score, also mentioning in what tracks of the soundtrack album they can be heard. I also mention certain cues that are not in the album, in [brackets]. Explanatory notes and audio examples provided when considered necessary. Feel free to correct and add information by copying and modifying the post.

    James Bond Theme. Heard in:
    • Gun Barrel
    • Message from an Old Friend
    • Square Escape
    • Someone Was Here
    • What Have You Done?
    • Shouldn't We Get to Know Each Other First
    • Cuba Chase
    • Back to MI6
    • Norway Chase
    • Gearing Up
    • I'll Be Right Back (listen!)
    • Opening the Doors

    Action motif. Technically, this is also part of the James Bond Theme, but it's innovative enough that it should be classified separately. Heard in:
    • Square Escape (listen!)
    • Cuba Chase
    • Opening the Doors

    Action/mystery motif. Heard in:
    No Time to Die. Heard in:
    • Home
    • I'll Be Right Back (listen!)
    • No Time to Die

    We Have All the Time in the World. Heard in:
    • Matera
    • [Cue at the end of the film]

    Other motifs and themes
    • Theme from On Her Majesty's Secret Service, heard in Good to Have You Back
    • [Vesper's theme from Casino Royale]

    Good list. Thanks, this will make re-listening to it interesting.
  • TopGearJB007TopGearJB007
    Posts: 624
    I asked earlier but I didn't see anyone answer. Does anyone know what version of the Bond theme was used during the end credits? It didn't sound like the David Arnold arrangement from CR, but it might have been.
  • MalloryMallory
    Posts: 2,165
    TopGearJB007 wrote: »
    I asked earlier but I didn't see anyone answer. Does anyone know what version of the Bond theme was used during the end credits? It didn't sound like the David Arnold arrangement from CR, but it might have been.

    I think it is a mix of the end of “What have you done” and the James Bond theme from “Back to MI6”.
  • TopGearJB007TopGearJB007
    edited November 2021 Posts: 624
    It very well might be Back to MI6, but I haven't seen the film in about 5 weeks now so it's fuzzy in my mind how the credits version sounded.
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    Mallory wrote: »
    TopGearJB007 wrote: »
    I asked earlier but I didn't see anyone answer. Does anyone know what version of the Bond theme was used during the end credits? It didn't sound like the David Arnold arrangement from CR, but it might have been.

    I think it is a mix of the end of “What have you done” and the James Bond theme from “Back to MI6”.

    Yes, after WHATTITW during the end credits they play a mix of Square Escape, Home, What Have You Done and Back to MI6.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,183
    I’m actually surprised they didn’t use Arnold’s CR arrangement because they really tried driving it throughout the first four films.
  • JimjambondJimjambond
    Posts: 328
    Zimmer's score is my 3rd favourite of the Craig era after Arnold's efforts in CR and QoS. I genuinely enjoy NTTD's score for the most part but more and more the film bothers me with the use of the themes from OHMSS lifted and dropped in. The scenes with M and Bond talking in Hammersmith is probably the most egregious moment. It just felt so lazy and inappropriate.
  • ShakenNotStirredShakenNotStirred
    Posts: 1,397
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,216
    ShakenNotStirred wrote: »

    All the feels!
  • StirredNotShakenStirredNotShaken Toronto
    Posts: 2,402
    @mattjoes that mystery theme (F#-E-F#-G-F#-E-D#-E) also plays in Matera when the DB5 escapes after the machine gun donut happens.
  • StirredNotShakenStirredNotShaken Toronto
    edited November 2021 Posts: 2,402
    I really can't get over "Someone Was Here".

    "Final Ascent", "Home", and any other moment where a lush reprise of the chorus of NTTD works its way into the score are all among my favourite pieces of Bond score ever, but that explosion of strings at 0:30 in this just feels entirely like a classic "here's the guy you all love" moment a la when we first see him in FRWL.

  • grunthergrunther
    Posts: 158
    Now that the film is streaming, has anyone done a complete cue list?
  • Jordo007Jordo007 Merseyside
    Posts: 2,641
    I love the version of the Bond theme within "Cuba Chase" that starts around 3.43. It's epic and powerful, perfectly suited to Daniel's Bond and one of the highlights of the score for me
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    I can't wait for the complete/recording sessions of Zimmer's score. Lot of Barryesque Bondian sounds in the film that aren't in the score. Hopefully it will be available soon.
  • mattjoesmattjoes Julie T. and the M.G.'s
    Posts: 7,021
    StirredNotShaken wrote: »
    @mattjoes that mystery theme (F#-E-F#-G-F#-E-D#-E) also plays in Matera when the DB5 escapes after the machine gun donut happens.
    Then I think it should be on the track Square Escape, but I didn't hear it myself. Could you provide the exact time?
  • StirredNotShakenStirredNotShaken Toronto
    Posts: 2,402
    Oh, maybe it's not there after all. At least one of the action sequences does have that melody in it, though. That might be the bit from "Message from an Old Friend" (which I think is leading INTO the donut sequence?) and I'm just getting it mixed up. I could have sworn that melody appears at other moments in the film.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,591
    StirredNotShaken wrote: »
    Oh, maybe it's not there after all. At least one of the action sequences does have that melody in it, though. That might be the bit from "Message from an Old Friend" (which I think is leading INTO the donut sequence?) and I'm just getting it mixed up. I could have sworn that melody appears at other moments in the film.
    I think the melody in question is the one that appears throughout the chase, first at the start when the DB5 manoeuvres away from the SPECTRE vehicles in the square, then after Bond deploys the mines after approaching the sheep. The theme reprises at various parts including when Bond and Valdo take off in the plane as well as Swann’s reintroduction into the story.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    I love David Arnold and would like to see him return for Bond 26. But if Zimmer can come up with a score this good in such a short space of time, I begin to fear that Arnold might not return again. Another reason is, once Romer left I really thought Arnold was going to get the gig, and I'm sure he thought so as well.
Sign In or Register to comment.