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Zimmer & Wallfisch were announced as new composers for 2049 less than three months before the film release.
Sure, if he's really out....the score could be released as a rejected score, that's maybe if Romer is proud of it . Much like the past where Booted Composers release their rejected scores.One of my favourite rejected score is Gabriel Yared's score for Troy....to me, it's better than James Horner's accepted score. But if it's true that Romer is indeed out....judging by his previous efforts, I'd say his score might have been very eccentric.
Oh I think that’s very possible, and I’m sure quite a few have since.
Yeah, Sure
Interesting, @Shardlake
I loved the SF score from the get-go. The music in the middle of the film is masterful: "Brave New World," "Shanghai Drive," "Modigliani," "Close Shave," "Komodo Dragon," "Someone Uusally Dies," and "The Chimera."
:)
Yeah, true...although, in Game of shadows...even if Zimmer reprised some themes from the first installment, he created a whole lot of new themes. Holmes & Watson had alternative themes. Moriarty also had his theme. I mean Blofeld doesn't even have a theme in SP. Instead his theme is the track 'Skyfall' from SF. Not that Silva had a theme in SF...but one can forgive that, Coz SF's score was unique.
Geez. Avant garde? Are you serious?
Yeah, for a Bond Score. Let's be honest.by Default, I don't think we could ever imagine tracks like 'Voluntary Retirement', 'New Digs', 'Brave New World', 'Shanghai Drive',etc. In truth these tracks were experimental, but somehow it worked in the film & Score. Romer attended the Skyfall Concert & already he's an eclectic sort of composer. If he's really out, I think he also tried to experiment with the score....but it didn't work. It's the same Avant-Garde approach Eric Serra used for GE's Score, but got panned for it. But like SF's Score, I like Serra's GE's Score....even if it's not universally loved.
Avante Garde gets thrown around a lot.
I hope there is a thread just on Skyfall music because I'd like to get in on this at some point. It is the only thing I found entirely mediocre; SF and SP's music. Skyfall still one of my favorite Bond films, but not the score.
I do think it will be Romer out and someone from Zimmer's crew in charge, with Zimmer having a hand in. We may as well take bets on that at this point. The film deserves to have the composer announced/confirmed, but I don't know how long that will take. Sooner is better, but they have their own agenda; not fans'.
That said, I think what is meant by it is Newman's soundtracks represent a departure from what was typical for Bond music. He brought a significantly more modern flair (for better and worse IMO) introducing a more heavy-weighted vibe to the score and relying more heavily on the tonal elements that serve individual moments rather than melodies that dominate the scene. (That's not to say there isn't good melodies in his Bond scores.)
At first I didn't like it myself, but I've gotten over it. There are great works that I really find imaginative and memorable. The thing is at the end of the day, SF feels like a copy cat maneuver of TDK and SP is a copy of SF. Nothing that groundbreaking really.
Since it was brought up, Goldeneye brought in some very unique sounds that while grating to some, really tie in the Russian storyline like no other. That's probably as close to experimental as Bond has ever gotten (or probably will get). What I like about that score is it's unique and consistent. You hear the industrial echoes all throught the film and it really gives the score and the film some flavor.
Probably more than anything, that is what I want in a score...some solid character, something that makes it unique while still being Bond. I've come to realize Barry's strength was using only a few but strong, memorable melodies, weaving them throughout the score, and giving them flair based on the location (usually through instrumentation). Most times, you got a sense of the location through the music. Sometimes characters even got a theme that was repeated throughout the score.
The theme song was also woven in, giving it true meaning as a theme song rather than being an isolated pop artist alternate music video that just happened to be tacked on to the film for sake of tradition (and bringing in a targeted audience).
Lastly many of the Bond soundtracks have their own feature that makes them recognizable: GF is brassy, TB is harp and vibraphone heavy (watery sounds), YOLT is orient, OHMSS has the synth but also is incredibly atmospheric, DAF is slick and saxy, LALD is funk n' soul, MR does such a good job representing space (notice the vocals added to the atmospheric gravitas), TLD brings in the 80s drum machine, GE is industrial, DAD is techno...
It just seems like the days of composers like Barry or John Williams are now behind us. You just don't get those qualities to scores anymore and I really believe scores suffer, becoming awfully generic. It just feels like composers today are just mimicking the Zimmer machine and writing as they go without trying to make the score feel cohesive.
Sorry, this turned into a longwinded rant on modern scores. Rant over...for now.
Whereas I see the comparisons with Nolan's Bat films to just call them lazy retreads is just lazy criticism of the film by its detractors.
There's no doubt that plot points have inspired the film from the TDK trilogy but in my eyes it is still a Bond film and a bloody good one to boot and Nolan takes Bond moments and steals them so it is tit for tat in my book.
LALD is informed by the blaxploitation era, MWTGG the martial arts films of the time. This idea that Bond was wholly original previous to the DC era is a myth and it is only the 60's films that were leading the pack with something entirely new.
I love North By Northwest. Can't forget the iconic Crop Duster scene....which inspired the Helicopter Chase in FRWL. The film's pace is spot on. Bernard Herrmann's score is stellar. Must be the film that made Cubby & Saltzman think Cary Grant should be their Bond....without them even thinking about Grant's age.
I don't know if Newman's work is "avant-garde" but I can see a case being made that his SF score could be described as such. Newman worked with greater "textures" or "colors" than had been done before.
On a separate note, Hans Zimmwer is listed as Exec Music Producer on The Rhythm Section, while Steve Mazzaro is still credited as composer. I am wondering if that will be the setup for NTTD.
I recently stumbled across this, which I am sure was posted somewhere years ago. Newman uses that term "color: here, and I think that was what he brought to SF:
Also weren't Cubby and Cary Grant good friends? Have a feeling Cary was best man at Cubby's wedding.
Right.
Correct on both accounts.
Had Bond been first produced a decade earlier, one has to think that Grant would have had first crack a being 007.
Exactly....I think it didn't work out Coz Grant was 58 at the time and could only commit to one film. And Cubby wanted an actor who would commit fully to the role. But since this thread is about Film music, I would have loved to hear a Bernard Herrmann's Bond Score. His scores for 'North By Northwest', 'Jason & the Argonauts', 'The 7th Voyage of Sinbad', amongst others helped define film music.
You mean Bond soundtracks or movie music in general? In the latter case, @4EverBonded, please feel free to set a thread up for that. :)