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  1. What a weird film. All the returning characters, including Craig himself, had completely different personalities to the previous movies. I could never really get into it - it was as if different actors were wearing bodysuits and masks of all of the characters and making a parody. Very messy. Tonally all over the place. Cinematography, editing and pace was all over the place. Felt very odd. Near the bottom of the pile. Casino Royale and Skyfall are the good Bond's of the Craig era. Quantum is forgettable. Spectre is boring. NTTD is just...a mess. That said, there was a single awesome moment, when Bond crushes Ash with the SUV. And the stairwell fight was pretty good, even though it felt like I was watching James Wick.
  2. I'm wouldn't be against this at all, as long as it wasn't just rotated between RC folks. Desplat, Pemberton, Powell...gimmie! I've a fondness for Arnold because he's been consistently reliable.
  3. Not sure if an aspect of the score can be considered a spoilers, but NTTD features
  4. He seems to be quite upfront about working with Steve Mazzaro, so who knows. He also isn't being all "this is something you've never heard before, and it's the greatest thing ever", which gives me hope that it's just trying to sound like a Bond score and hasn't been Zimmerfied. The very short snippets that are out there sound fun, though they do make me wonder, "Why didn't you just get David Arnold back?".
  5. So the title song is incorporated into the score from the sound of things. Hopefully more than just the token arrangement like in Skyfall and SPECTRE.
  6. Clips from Zimmer's score will apparently be featured within this podcast at some point. https://podcasts.apple.com/gb/podcast/no-time-to-die-the-official-james-bond-podcast/id1532875925
  7. There's a litte action cue as Bond escapes the bar after meeting with Felix, I think there's a slightl extension/second part to "Bolivian Taxi Ride", the Four Tet end credits piece which was released officially anyway, and Arnold's gunbarrel music. And of course, the later written No Good About Goodbye. There might be a few other very minor cues but they don't come to mind.
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