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

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  • mtmmtm United Kingdom
    edited January 2020 Posts: 16,413
    I expect the song was written but as far we know it was never recorded (well I guess there’s a demo or something at least). My guess is that it would start with the fanfare played on the trumpets we hear at the beginning of Whiteout, and then the melody as heard in ‘Peaceful..’ (I know that melody is in Whiteout too but Peaceful seems to have the longest statement of it in the film). My guess is that melody is the verse, but if it is I don’t know what the chorus is. Probably a similar tempo to Surrender? It sounds like it could have that sort of sass.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    mtm wrote: »
    I expect the song was written but as far we know it was never recorded (well I guess there’s a demo or something at least). My guess is that it would start with the fanfare played on the trumpets we hear at the beginning of Whiteout, and then the melody as heard in ‘Peaceful..’ (I know that melody is in Whiteout too but Peaceful seems to have the longest statement of it in the film). My guess is that melody is the verse, but if it is I don’t know what the chorus is. Probably a similar tempo to Surrender? It sounds like it could have that sort of sass.

    Yeah....it was gearing up to be a Classic Bond Song. It's title 'I Will Return' is very Bondian.
  • mtmmtm United Kingdom
    Posts: 16,413
    Well we don’t know: I liked the tune but then I also liked Surrender’s tune in the movie, and that as a song is a bit too much of a pastiche for me to really like. At least Crow’s TND feels like an original work. And the TWINE song just feels underpowered and never takes off for me: the melody has a sort of dreary up and down to it, as if it’s a chore to sing :)
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    EON was correct to pass on “Surrender”, as it would have sounded completely out of touch with 1997, and Arnold’s attempts at modernizing a big band production with electronics (along with TWINE’s and “No Good About Goodbye”) is pretty limp. “You Know My Name” however sounded great and that’s all thanks to Chris Cornell having a big creative hand and not relying on Don Black lyrics.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    mtm wrote: »
    Well we don’t know: I liked the tune but then I also liked Surrender’s tune in the movie, and that as a song is a bit too much of a pastiche for me to really like. At least Crow’s TND feels like an original work. And the TWINE song just feels underpowered and never takes off for me: the melody has a sort of dreary up and down to it, as if it’s a chore to sing :)

    Hmmmm....Well, I think Surrender is one great Bond song....pity it's often forgotten...probably coz it appears at the end credits. I like Sheryl Crow's TND too & still very much like Garbage's TWINE...I like the way the Electric Guitar is played in the song's Chorus & Shirley Manson's lyrics has a dangerous feel to it.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    I dislike the Crow song, but it at least sounds more contemporary to 1997.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    GadgetMan wrote: »
    mtm wrote: »
    Well we don’t know: I liked the tune but then I also liked Surrender’s tune in the movie, and that as a song is a bit too much of a pastiche for me to really like. At least Crow’s TND feels like an original work. And the TWINE song just feels underpowered and never takes off for me: the melody has a sort of dreary up and down to it, as if it’s a chore to sing :)

    Hmmmm....Well, I think Surrender is one great Bond song....pity it's often forgotten...probably coz it appears at the end credits.

    So do I. Surrender is fantastic. KD Lang knocked it out of the park, imo. I find Crowe's song pretty bland in comparison.
  • mtmmtm United Kingdom
    edited January 2020 Posts: 16,413
    EON was correct to pass on “Surrender”, as it would have sounded completely out of touch with 1997, and Arnold’s attempts at modernizing a big band production with electronics (along with TWINE’s and “No Good About Goodbye”) is pretty limp. “You Know My Name” however sounded great and that’s all thanks to Chris Cornell having a big creative hand and not relying on Don Black lyrics.

    Yes I agree with all that. I enjoy YKMN and it works very well in the credits, although as a rock song I find it kind of doesn’t quite go anywhere: it feels like there’s a next level it should build to but just repeats itself instead. It’s not as good a melody (and in some ways is the same melody!), but I find Another Way to Die a much more convincing bit of rock: it’s got really driving percussion and a nice heavy guitar together with that mariachi band and the sound they create is terrific. It actually, y’know.. rocks :)
    I dislike the Crow song, but it at least sounds more contemporary to 1997.

    Yeah exactly. If all we’d got all the time was Goldfinger ripoffs and nothing new and contemporary we’d have never had Nobody Does It Better.

    It’s kind of funny that although John Barry was undeniably king, in the 70s he ended up kind of following the lead of the songwriters who filled in for him in the 007 films he missed, and he actually came up with worse efforts! In 1973 we got the first rock Bond song in LALD, and Barry followed this with his own take on a rock Bond song and we got... TMWTGG. Nobody Does it Better gave us a contemporary romantic, lighter sort of Bond song, and he followed the lead of that with MR and All Time High. Lovely tunes, but as songs they don’t really compare.
  • talos7talos7 New Orleans
    Posts: 8,216
    I dislike the Crow song, but it at least sounds more contemporary to 1997.

    I actually like the song but Crow was the wrong choice to perform it. Her vocal is thin, forced and beyond her range.
    At the time Whitney Houston would have knocked it out of the park and it would be considered a classic.

  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.
  • mtmmtm United Kingdom
    edited January 2020 Posts: 16,413
    talos7 wrote: »
    I dislike the Crow song, but it at least sounds more contemporary to 1997.

    I actually like the song but Crow was the wrong choice to perform it. Her vocal is thin, forced and beyond her range.
    At the time Whitney Houston would have knocked it out of the park and it would be considered a classic.

    It’s a good point: Houston at the right point would been a perfect Bond song artist. If Dalton had made his third maybe..?
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    Exactly...it's better as an instrumental piece. But the vocals are almost cartoonish. The opening seconds of the song had potential...it even sounds like YKMN there a bit. It just couldn't keep up.
  • mtmmtm United Kingdom
    Posts: 16,413
    GadgetMan wrote: »
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    Exactly...it's better as an instrumental piece. But the vocals are almost cartoonish. The opening seconds of the song had potential...it even sounds like YKMN there a bit. It just couldn't keep up.

    Yeah their voices don’t fit together: I almost think White would’ve been better on his own. It’s a good rocking song though: I enjoy it. The production is so much better than on YKMN.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    mtm wrote: »
    GadgetMan wrote: »
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    Exactly...it's better as an instrumental piece. But the vocals are almost cartoonish. The opening seconds of the song had potential...it even sounds like YKMN there a bit. It just couldn't keep up.

    Yeah their voices don’t fit together: I almost think White would’ve been better on his own. It’s a good rocking song though: I enjoy it. The production is so much better than on YKMN.

    True, White might have been better on his own. Or maybe if he did it with someone like Beyonce...it might have sounded more cinematic.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    If they didn’t sing together during the main chorus it might have fared better. They sound better individually. Let Keys sing the chorus solo while White would do the “trigger finger for her majesty” silliness.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    I think AWTD would have been better with White on his own or he'd done it as the Raconteurs.

    I'm a fan but he has certainly done much better but then again he had nowhere the time that others had, that theme tune was Winehouse and Ronson for a long time then they had to get JW in later in the game.

    White as a song writer is capable so much better. As for worst song Writings On The Wall will take that prize every time, it sounds like a pastiche and then descends into an awful weak vocal and the subject matter has no bearing on the film.
  • mtmmtm United Kingdom
    Posts: 16,413
    Shardlake wrote: »
    I think AWTD would have been better with White on his own or he'd done it as the Raconteurs.

    I'm a fan but he has certainly done much better but then again he had nowhere the time that others had, that theme tune was Winehouse and Ronson for a long time then they had to get JW in later in the game.

    White as a song writer is capable so much better. As for worst song Writings On The Wall will take that prize every time, it sounds like a pastiche and then descends into an awful weak vocal and the subject matter has no bearing on the film.

    Yeah it’s not White’s best, that’s certainly true. He’s probably the best songwriter they’ve had over the last, what, twenty five years or so for my money. Adele is obviously very good and deserves her success but White just pips her for my money.
  • Posts: 3,327
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    I despise that song too, along with Madonna's crappy DAD effort. Both equally rancid, and both equally the worst Bond songs of all time.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,261
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    I despise that song too, along with Madonna's crappy DAD effort. Both equally rancid, and both equally the worst Bond songs of all time.

    +1
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    I actually admire the Madonna song just for having the balls to do something totally different, to hell with tradition. The Bond series was known for breaking traditions and taboos in the 60s, and the Brosnan era had become too institutionalized. So after three relatively boring “Bondian” songs, Madonna taking the franchise and dunking its head in a bucket of iced water was refreshing.

    But of course the fans hated it, much like they hate the criminally underrated Eric Serra score.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,183
    Ugh, AWTD is easily my least favorite. Maybe a decent instrumental, but the vocals are RANCID.

    I despise that song too, along with Madonna's crappy DAD effort. Both equally rancid, and both equally the worst Bond songs of all time.

    True for a fact. I still prefer AWTD over DAD, but neither has ever made me happy. It's a miracle Kleinman managed to make something out of the DAD titles when he did. I'm still convinced Madonna wasn't a poor choice, except that she should have done this in for LTK or GE or TND. Those were her good days. Then she crapped that song 'Music' on an album and suddenly, things got bad. I mean, she did better for Austin Powers than for Bond. Yeah, analyse THAT, Sigmund Freud!

    That M2K or whatever garbage they flew in for QOS, along with the song, left me with sour stomach reflux the first couple of times I watched the film. Now, I've grown used to it. I guess that's the best compliment I can give that "thing".
  • talos7talos7 New Orleans
    Posts: 8,216
    It’s a flawed song, the duet just doesn’t work, but I must be one of the 3 people who like AWTD. It’s unconventional, jarring and uncomfortable, but that is where Bond is in QOS.
    Musically, it’s soulful and nasty, but very Bond.
    White should have done it solo with a female background...


  • ShardlakeShardlake Leeds, West Yorkshire, England
    edited January 2020 Posts: 4,043
    mtm wrote: »
    Shardlake wrote: »
    I think AWTD would have been better with White on his own or he'd done it as the Raconteurs.

    I'm a fan but he has certainly done much better but then again he had nowhere the time that others had, that theme tune was Winehouse and Ronson for a long time then they had to get JW in later in the game.

    White as a song writer is capable so much better. As for worst song Writings On The Wall will take that prize every time, it sounds like a pastiche and then descends into an awful weak vocal and the subject matter has no bearing on the film.

    Yeah it’s not White’s best, that’s certainly true. He’s probably the best songwriter they’ve had over the last, what, twenty five years or so for my money. Adele is obviously very good and deserves her success but White just pips her for my money.

    White leaves Adele in the dust as a songwriter, I wouldn't even put them in the same ballpark.

    The guy writes, produces, plays multiple instruments, Adele just sings and collaborates with others.

    She can't even be compared to White in the world of music.

    If we are talking sales and popularity yes she has the upper hand but talent and longevity, you only have to look at Dido to know how remembered Adele will be in a decade.

    Anything White does like Radiohead causes a stir.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    talos7 wrote: »
    It’s a flawed song, the duet just doesn’t work, but I must be one of the 3 people who like AWTD. It’s unconventional, jarring and uncomfortable, but that is where Bond is in QOS.
    Musically, it’s soulful and nasty, but very Bond.
    White should have done it solo with a female background...


    That makes 4 of us, then. I like it too. I used to loathe it but it grew on me with the years and now I enjoy it a lot (though I'm not a fan of the duet, I think only White or only Keys should have sung it).
  • mtmmtm United Kingdom
    Posts: 16,413
    Shardlake wrote: »
    mtm wrote: »
    Shardlake wrote: »
    I think AWTD would have been better with White on his own or he'd done it as the Raconteurs.

    I'm a fan but he has certainly done much better but then again he had nowhere the time that others had, that theme tune was Winehouse and Ronson for a long time then they had to get JW in later in the game.

    White as a song writer is capable so much better. As for worst song Writings On The Wall will take that prize every time, it sounds like a pastiche and then descends into an awful weak vocal and the subject matter has no bearing on the film.

    Yeah it’s not White’s best, that’s certainly true. He’s probably the best songwriter they’ve had over the last, what, twenty five years or so for my money. Adele is obviously very good and deserves her success but White just pips her for my money.

    White leaves Adele in the dust as a songwriter, I wouldn't even put them in the same ballpark.

    The guy writes, produces, plays multiple instruments, Adele just sings and collaborates with others.

    She can't even be compared to Adele in the world of music.

    I dunno: I think you can compare Adele to Adele! :)

    I do tend to agree though: I much prefer White and he’s a proper legend. I was just being kind on Adele because I didn’t want to offend anyone who likes her! :) I think she’s good at what she does even if it’s not to my taste.
  • edited January 2020 Posts: 5,767
    mtm wrote: »
    I thought they were entirely cohesive: I’m not really sure what you mean by that..?
    Talking about cohesion: The Shanghai sequence in SF, starting from where Bond awaits Patrice at the airport, up to the squid fight is one single build-up on film. IMO Newman works against this building of tension by using about six totally different music tracks. There may have been reasons for this by the director or the composer, but I find it bad scoring, because it disturbs the cohesion of the the whole sequence. I see no benefit in the way it's done, regardless of any possible reason, and regardless of the tracks each by itself being great tracks.


    boldfinger wrote: »
    GadgetMan wrote: »
    boldfinger wrote: »
    .
    GadgetMan wrote: »
    Newman took a very avant-garde approach in SF & it worked....coz he seemed to be playing around Monty Norman's Bond theme & occasionally doffed his hat to Barry, which is very evident in the track 'Severine'. The problem was always SP's score. Although, it had it's own good tracks like 'Los Muertos Vivos Estan', 'Donna Lucia' , 'Crows Klinik', 'Madeleine', 'L' Americain', 'Secret Room', 'Silver Wraith', 'Safe House', 'Blindfold', 'Detonation', & 'Spectre( End credits)'. If Newman was even allowed to reprise these tracks entirely throughout the score in different musical styles....without repeating anything from SF, it would have really helped the score & Newman's reputation as a Bond Composer...even if Newman doesn't like weaving title songs into his score. I was even liking 'Backfire' until it turned into ' Grand Bazaar, Istanbul' from SF.
    Very funny description of Newman's approach, since at least two thirds of the score doesn't effectively differ from what Arnold did.

    Yeah....well, snippets of Arnold's style can be heard in some Newman's tracks.just like we can hear some Barry nods too. But it's basically Newman trying to give Bond a new sound. I think the Guy that sounded exactly like Arnold, was Richard Jacques who scored the BloodStone Game. That Game's score has Arnold written all over it. And it's a very good Bondian score too.
    I don't think Arnold has that distinctive a style. He's pretty generic. What sets him apart from most others is the enthusiasm and joy the scores ooze. I'm not sure how much of that is due to arranger/conductor Nicholas Dodd, with whom Arnold used to work on all his well-known scores up to Sherlock, as far as I know. Newman is head and shoulders above Arnold theoretically, i.e. in his knowledge and hypothetical use of music theory, but in practice the impression the music makes in the Bond films is not a big difference to Arnold. Some bits are noticably more sophisticated, others notably more primitive to a degree of sounding uninspired.

    Interesting, so that means if Newman was a bond enthusiast like Arnold he could have achieved far better results than he already did considering his expertise.
    I'm not sure how much of a Bond enthusiast Arnold is. But his music, as generic as it often is, is a lot of fun, and the kind of fun that benefits the film. I can't say the same about Newman. I don't mean that none of his music benefits the film, but IMO for sure he made less out of more than Arnold did.
  • TripAcesTripAces Universal Exports
    Posts: 4,585
    boldfinger wrote: »
    mtm wrote: »
    I thought they were entirely cohesive: I’m not really sure what you mean by that..?
    Talking about cohesion: The Shanghai sequence in SF, starting from where Bond awaits Patrice at the airport, up to the squid fight is one single build-up on film. IMO Newman works against this building of tension by using about six totally different music tracks. There may have been reasons for this by the director or the composer, but I find it bad scoring, because it disturbs the cohesion of the the whole sequence. I see no benefit in the way it's done, regardless of any possible reason, and regardless of the tracks each by itself being great tracks.


    boldfinger wrote: »
    GadgetMan wrote: »
    boldfinger wrote: »
    .
    GadgetMan wrote: »
    Newman took a very avant-garde approach in SF & it worked....coz he seemed to be playing around Monty Norman's Bond theme & occasionally doffed his hat to Barry, which is very evident in the track 'Severine'. The problem was always SP's score. Although, it had it's own good tracks like 'Los Muertos Vivos Estan', 'Donna Lucia' , 'Crows Klinik', 'Madeleine', 'L' Americain', 'Secret Room', 'Silver Wraith', 'Safe House', 'Blindfold', 'Detonation', & 'Spectre( End credits)'. If Newman was even allowed to reprise these tracks entirely throughout the score in different musical styles....without repeating anything from SF, it would have really helped the score & Newman's reputation as a Bond Composer...even if Newman doesn't like weaving title songs into his score. I was even liking 'Backfire' until it turned into ' Grand Bazaar, Istanbul' from SF.
    Very funny description of Newman's approach, since at least two thirds of the score doesn't effectively differ from what Arnold did.

    Yeah....well, snippets of Arnold's style can be heard in some Newman's tracks.just like we can hear some Barry nods too. But it's basically Newman trying to give Bond a new sound. I think the Guy that sounded exactly like Arnold, was Richard Jacques who scored the BloodStone Game. That Game's score has Arnold written all over it. And it's a very good Bondian score too.
    I don't think Arnold has that distinctive a style. He's pretty generic. What sets him apart from most others is the enthusiasm and joy the scores ooze. I'm not sure how much of that is due to arranger/conductor Nicholas Dodd, with whom Arnold used to work on all his well-known scores up to Sherlock, as far as I know. Newman is head and shoulders above Arnold theoretically, i.e. in his knowledge and hypothetical use of music theory, but in practice the impression the music makes in the Bond films is not a big difference to Arnold. Some bits are noticably more sophisticated, others notably more primitive to a degree of sounding uninspired.

    Interesting, so that means if Newman was a bond enthusiast like Arnold he could have achieved far better results than he already did considering his expertise.
    I'm not sure how much of a Bond enthusiast Arnold is. But his music, as generic as it often is, is a lot of fun, and the kind of fun that benefits the film. I can't say the same about Newman. I don't mean that none of his music benefits the film, but IMO for sure he made less out of more than Arnold did.

    FWIW, there were three
  • Posts: 5,767
    I wouldn’t call Newman generic. Arnold? Absolutely.

    I'd say Newman's way of scoring action was about as generic as it gets, personally.

    It gets my blood pumping, nothing generic does that. Tracks like “She’s Mine” is one of those kind of cues that elevates the material, whereas something like “The Switch” in CR actually hurts the film for me, and is the kind of over-writing sin that Arnold has been committing since the very beginning.
    Correct me if I'm wrong, but the term "generic" in terms of film music means basically that the music doesn't sound distinctly like a certain film, topic, or character. E.g. if you hear a track from DAF, you know what film you're in. This has nothing to with getting your blood pumping.
    I agree that Arnd had a tendency to write too much music. It is notable though that the last score he did for Bond was only half as long. There was even a fight without music. No idea if that was the composer's idea or someone else's.
  • Posts: 5,767
    TripAces wrote: »
    Wow. Nothing dominates these boards like a good ol' Arnold-Newman debate. I am not sure this has to be an either/or. I liked Arnold's work on CR and QoS. I loved Newman's work on SF and SP. I am not sure we Bond fans have to choose in a way that is exclusive.

    Though I prefer Newman's work in SF and SO, this does not mean I think Arnold's work stunk. Not at all.

    As for action pieces: I find most action music to be difficult listening. It is meant to coincide with and enhance what is on screen. I don't usually find it pleasurable on its own. Bernard Hermann's score for Psycho is a perfect example. The screeching violins are perfect for that shower scene; they are not perfect for my home, when I am cooking, or in my car, when I am taking a drive through the mountains. LOL.

    My Arnold and Newman compilations mostly have the action bits taken out. My main complaint about Arnold's work is that some of his very best stuff is only seconds long.
    @TripAces, you're making a big mistake. Nothing comes close in making your day like achieving the right timing of sitting in the tube, listening to film music, forlornly watching your surrounding, happening to see a mother with her child enter the train, and at the exact second have a cue like the shower scene from Psycho coming on ;-).




    GadgetMan wrote: »
    Walecs wrote: »
    I can't stand Zimmer but for a couple scores. If not Romer, then I hope it'll be someone else.

    +1. Hopefully the guy who scored QoS will be asked to return.

    giphy.gif

    I think he kind of said, he won't do the NTTD score.

    As long as nothing is confirmed from EON, I'm living in the hope that he will! I just can't stomach another score sounding like the Newman scores. I've tried to like them since the release, listening to them multiple times. But I just don't like them. I fear Zimmer and/or his crew's effort might feel the same.

    Yeah, I think the Bond theme itself really favours Zimmer's style, coz it gives Zimmer extra excuse to be more Bombastic....just like how Terminator favoured Junkie XL. Zimmer's very likely going to play with the Bond theme than Newman. Coz Zimmer's score for Inception has a Bondian feel about it. I think if Zimmer scores it, it's likely going to sound like that. And I don't think Newman's style is that Distant from Romer...Coz they are both comfortable with atmospheric sounds & seem to struggle with action music.
    @GadgetMan, how much action music from Romer have you heard, that you can tell that he seems to struggle?


    mtm wrote: »
    TripAces wrote: »
    Wow. Nothing dominates these boards like a good ol' Arnold-Newman debate. I am not sure this has to be an either/or. I liked Arnold's work on CR and QoS. I loved Newman's work on SF and SP. I am not sure we Bond fans have to choose in a way that is exclusive.

    Though I prefer Newman's work in SF and SO, this does not mean I think Arnold's work stunk. Not at all.

    As for action pieces: I find most action music to be difficult listening. It is meant to coincide with and enhance what is on screen. I don't usually find it pleasurable on its own. Bernard Hermann's score for Psycho is a perfect example. The screeching violins are perfect for that shower scene; they are not perfect for my home, when I am cooking, or in my car, when I am taking a drive through the mountains. LOL.

    My Arnold and Newman compilations mostly have the action bits taken out. My main complaint about Arnold's work is that some of his very best stuff is only seconds long.

    Barry’s action cues were often much more pleasurable as he simply played a tune during them! Much nicer :)
    I do still sort of wonder why Arnold didn’t just do an orchestral version of You Know My Name during the runway chase rather than all the Mickey Mousing. I wonder how that would have turned out.

    That would have been far better, like Barry did with tracks like Ice Chase, Snow Job, Cable Car, etc.

    And then repeat the track on other action set pieces too, so we become familiar with the music. I felt Arnold tried to do too much at times. Simplicity works much nicer.
    I hugely enjoy Arnold's music, but that is one thing that can be tiresome with his music. And it's really a shame, because, as some critic once said, hevs got more themes in one film score than others have in their whole oeuvre. And he does have a lot of really cool melodies. It would be the greatest thing in the world if he would indulge more in his themes instead of hopping from one to the other.









  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    @boldfinger, the thing is, Romer isn't an intrinsic action Composer by any means. It shows in his 'Far Cry' game score which is an action game. Although, I like his 'Beasts Of No Nation score'(I think it's his best score yet). But you can still find him there struggling with action music. Romer is more like Newman... he's more comfortable with drama films & once Wendy is released, am sure Romer would shine with that score. The thing is, once a non-action Composer scores an action film, some of the tracks can turn out to be quite noisy. Like Newman's 'Tempus Fugit' & Snow Plane'. I've heard a lot of Romer's scores....he's not comfortable with action music. For me the only action track that he excels a bit, is the track 'Free Of All Desire' from his Far Cry Score.
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