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Faleel J.M.

Dan Romer - James Bond #25 (2020)

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45 minutes ago, Koray Savas said:

Called it!

 

What, this is "calling it"?

 

On 5/26/2019 at 12:28 PM, Koray Savas said:

He used Dan Romer for his last two projects. Doubt EON would let him score a Bond film though.

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My reaction: skepticism.  Especially as that cue Koray posted sounds like faux-inspirational advertisement music (think "this investment bank will complete you as a person" tone).  But maybe it was supposed to sound that bad in the context of that movie?

 

(this is as opposed to my reaction when Balfe got MI6: abject disgust)

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Could be interesting. 

 

Thankfully its not following the Hollywood blockbuster trend of a Zimmer clone like Balfe or Safe Pair of Hands Won't Rock the Boat but Will Give us Something Totally Bland and Uninspiring Giacchino. 

 

Thought the last couple of Bond scores were largely forgettable. 

Just now, Disco Stu said:

 

I would be very happy to get a score as good as Goldeneye!

 

Indeed! 

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Too expensive for Bond? Hard time believing that could be true.

 

May just be a similar case to Mendes, where the director really wants to work with their usual composer.

 

Listening to that track from Far Cry 5 and it's really nice though.

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1 hour ago, TheUlyssesian said:

WOW! Going from Beasts of no Nation to Bond has to be like the most skull crushing career progression over. Damn.

 

I am disappointed it is not Hurwitz. I would liked the big romantic sound for the franchise that Barry originated. I want to have a song that is also well integrated into the score. The last score to do that seamlessly was Casino Royale and it remains a highlight for that reason.

 

 

 

Hurwitz being ignored by Hollywood is infuriating. 

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Love this composer casting -- totally out of left field, and something that actually makes me interested in this new Bond and Bond score (which I normally don't give a rat's ass about).

Romer has been a huge talent for some time, I was just waiting for his big break. BEASTS OF THE SOUTHERN WILD  was one of my favourite scores in 2012. And I really enjoyed Fukunaga and Romer's collaboration BEAST OF NO NATION.

Bring it on!

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1 hour ago, Richard Penna said:

he must've submitted one hell of a demo to the producers.

 

 

• Or because he was brought-in relatively late, Fukunaga accepted only if he would have final decision on the composer's choice ;

• Or EON is OK to let outsiders experiment with the saga ;

• Or they are purposefully looking for something different ;

• etc

 

I'm curious what it will sound like, and I'm interested :) For a "bond" style music, I would have preferred Arnold or Kraemer. But since none of these have been chosen, I'd much prefer to hear what unexpected composer such as Romer have to offer. Of course, Hurwitz would have been interesting. But I'm at least happy it's not Göransson or Balfe.

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6 hours ago, Disco Stu said:

My reaction: skepticism.  Especially as that cue Koray posted sounds like faux-inspirational advertisement music (think "this investment bank will complete you as a person" tone).  But maybe it was supposed to sound that bad in the context of that movie?

 

(this is as opposed to my reaction when Balfe got MI6: abject disgust)

Faux-inspirational? Man, that's my favorite cue from last year. You're tearing me apart, Stu!

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The reaction to this reveals an exclusive and elitist attitude among film score fans that a composer really needs to "earn their stripes" before being allowed the chance to score a major franchise film.

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42 minutes ago, The Original said:

The reaction to this reveals an exclusive and elitist attitude among film score fans that a composer really needs to "earn their stripes" before being allowed the chance to score a major franchise film.

Imagine if Nicholas Meyer had gone with his first choice, to score STAR TREK: II...

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Dan who?

 

3 hours ago, The Original said:

The reaction to this reveals an exclusive and elitist attitude among film score fans that a composer really needs to "earn their stripes" before being allowed the chance to score a major franchise film.

 

We've learned the hard way from Balfe's score to Fallout.

 

3 hours ago, Dieter Stark said:

I just find it baffling how they seem to hire anyone but David Arnold.

 

Arnold is, sadly, past his expiration date. At least we got one great score from him.

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4 hours ago, The Original said:

The reaction to this reveals an exclusive and elitist attitude among film score fans that a composer really needs to "earn their stripes" before being allowed the chance to score a major franchise film.

 

How is that different for, for example, an artist reaching a certain stage in their career before being invited to play the headline slot at Glastonbury?

 

I'm 'content' with this announcement, although it's mostly because of the potential alternatives. But to score a film as a big as a tentpole franchise film you're going to want someone with a certain level of experience.

 

17 hours ago, Disco Stu said:

(this is as opposed to my reaction when Balfe got MI6: abject disgust)

 

I don't remember being disgusted (or variant of) when Balfe was announced. That feeling was entirely felt when I heard the score....

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30 minutes ago, Richard Penna said:

I'm 'content' with this announcement, although it's mostly because of the potential alternatives. But to score a film as a big as a tentpole franchise film you're going to want someone with a certain level of experience.

 

These big movie franchises are mostly on life support anyway, so may as well give the job to some newcomer.

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Romer's been Fukunaga's collaborater for some time, so I guess it isn't too surprising. But I don't know if he's got the chops to do a Bond score. It'll probably be sound like Newman-lite.

 

Parts of Maniac were nice, in context especially, but most of it is kind of derivative, sometimes even a little amateur-ish.

 

I remember liking some of the aleatoric string stuff that popped in every now and then:

 

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@Thor and @Koray Savas celebrating the choice means this score is fucked.

 

And so the game begins.

 

"It's an unusual choice, but give him a chance"

"It's dog shit"

"How can you know you haven't heard it?"

"It's dog shit"

"Why are you so negative?"

"It's dog shit"

"You can't judge a score based on 30 second samples"

"It's dog shit"

"This multimillion James Bond ecapist adventure doesn't warrant big themes"

"It's utter dog shit"

"We are missing three crucial 15 second cues enhancing the 70 minute album greatly"

"Fuck off"

"You don't understand film music"

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