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Hans Zimmer's NO TIME TO DIE (2020) - James Bond #25

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Zimmer? A big meh.

 

8 minutes ago, Hitch said:

He'll probably get The Buggles to re-unite for the theme song :rock:

Haha!

 

Any chance they could coax Kate Bush to do it, though?

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33 minutes ago, Richard Penna said:

Zimmer's probably thinking about which of his buddies to phone for a 'coilaboration'.

 

I predict Clemmenson's reaction to be along the lines of this measured and consise response:

 

(bit gory)

 

  Hide contents

giphy.gif

 

 

Clemensen will pull out his dreaded FRISBEE rating for it, his version of ZERO stars. He last "awarded" it to Zimmer for Pirates 4.

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Just now, SteveMc said:

A big meh.

 

Haha!

 

Any chance they could coax Kate Bush to do it, though?

 

There's as much chance of getting Kate Bush than there is of Barbara Broccoli hiring John Williams!

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8 minutes ago, TheUlyssesian said:

 

Clemensen will pull out his dreaded FRISBEE rating for it, his version of ZERO stars. He last "awarded" it to Zimmer for Pirates 4.

 

I'm surprised he gave Independence Day Resurgence a * instead of a FRISBEE.

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Zimmer has written his share of great scores, but I don't think I've ever heard an action score by him that I didn't intensely dislike, to put it mildly (unless you count The Lion King). But without Balfe, we might at least be spared a big ass choir rendition of the Bond theme.

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If it had been Powell, I'd have gotten a little excited. I knew it'd be someone from Remote Control, but I was hoping it wouldn't be Zimmer/Wallfisch, who it'll probably end up being - which will make it the second time they've come in late to knock out the score to a big-budget sequel by a unique director - who unfortunately capitulated to the producer's requests to reject their preferred composer. Filmmaking is all about compromise, scoring isn't immune to that, but it's disappointing to see it happen like this.


So now Romer's work on this movie goes on the shelf next to Johansson's work on Blade Runner 2049 - works I'm immensely curious to hear and possibly discover for my own self what about them was so "off" that the only course of action was to get Zimmer/Wallfisch to do familiar riffs on canonized pieces. 

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6 minutes ago, TheUlyssesian said:

Making garbage is quick and easy.

 

Shit in, shit out.

 

3 minutes ago, Larry O said:

I knew it'd be someone from Remote Control, but I was hoping it wouldn't be Zimmer/Wallfisch

 

Just be glad it wasn't Balfe.

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4 hours ago, Disco Stu said:

Romer's score will always be a "Who knows!  Maybe it would've been good!"

 

Zimmer's score will at least be less snooze-worthy than Newman's efforts hopefully.  I'm a Newman fan, but those scores are both unsatisfactory as Newman music and unsatisfactory as Bond music.


I was just going to say the same. I can recall nothing of the scores of either of those films. They couldn’t have been anymore bland. 

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Zimmer has the talent to write a good score but his attitude towards blockbuster scoring over the 10/15 years has been terrible. He even isn't in my top 20 score composers of the 21st century. 

 

I am deeply passionate about Bond music. I was introduced to film music by watching those movies. I knew of John Barry before I knew of John Williams. So this is what it felt like to read today's news:

 

c03298efb4555df37fd9bb94c741db0d.gif

 

 

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True. It's mediocre, but the title song is above average.

 

4 hours ago, Matt C said:

You'd figure they'd ask Thomas Newman or David Arnold first.

 

Perhaps they were asked, but were occupied, or didn't want to work with such a short deadline, or or or...

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19 minutes ago, toothless said:

They could have asked Giacchino. The guy can work really fast! 

 

Fixed. Also, it's more probable for then to ask Gia then Alex for this kind of movie, lol.

 

35 minutes ago, Jurassic Shark said:

Perhaps they were asked, but were occupied, or didn't want to work with such a short deadline, or or or...

 

I don't think they were even asked. Of course, Newman probably wouldn't do it anyway (he only did the other two because of his friendship with Sam Mendes), but if they had asked Arnold, I'm sure he would have accepted. Why he wouldn't make a comeback to his favorite franchise, to work on British TV?

 

I guess that the Broccolis saw the success of Fallout in 2018, and decided they wanted that their new Bond would be similar, so they wanted the kind of score Balfe did for Fallout.

 

Also, they probably have thought that Arnold's Bond music was too orchestral, too traditional, too old fashioned, and for NTTD they want a new Bond - more modern, edgier, connected, adapted to the world we live in, etc. They want an update. And who better to provide a more recognizable Bond for young people than Zimmer himself?

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44 minutes ago, The Illustrious Jerry said:

I knew it was never going to happen here, but when is Hurwitz going to stop piggybacking with Chazelle and take a jump into the industry? I don't know about you, but I feel like Bond would suit him. 

 

Random info I learnt about Hurwitz the other day - not only is he a composer, he's also a screenwriter! Talk about talented.

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4 hours ago, Damien F said:

Zimmer has the talent to write a good score but his attitude towards blockbuster scoring over the 10/15 years has been terrible. He even isn't in my top 20 score composers of the 21st century. 

 

I am deeply passionate about Bond music. I was introduced to film music by watching those movies. I knew of John Barry before I knew of John Williams. So this is what it felt like to read today's news.

 

That's funny. I'm the COMPLETE opposite. I don't really care about Bond (I have no nostalgic connection to them), and don't care particularly for the Barry scores either. Only the songs to a certain extent. I like it when they've broken the mold. Stuff like GOLDENEYE is wonderful. And love all of Arnold's stuff.

 

Also, I think Zimmer is one of the greatest film composers of all time, he has continued to impress me with his scores in the last 10-15 years, for projects that inspired him, and I think the prospect of a Zimmer Bond score is so interesting, it actually makes me kinda excited for a Bond movie.

 

So basically everything you said, only the opposite, LOL! :D

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19 minutes ago, Blumenkohl said:

Will he use Barry’s themes? Or will he instead recruit a bongo circle for a pitch-free theme?

 

 

He will certainly use Barry's theme. As for whether it'll be good or not, that depends... do you like what he did with Lalo Schifrin's theme on M: I 2?

 

 

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28 minutes ago, Thor said:

 

Also, I think Zimmer is one of the greatest film composers of all time

 

He's done a lot of great stuff, but I agree with Damien that his view on the sort of music that gritty modern blockbusters need is largely terrible.

 

Pirates 3 and The Lone Ranger particularly indicated to me that he has talent and some good melodies when the movie is fun, but when presented with more serious material in the last number of years and invited to be experimental, the result is too often just noise.

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Hybrid off HZ.com did have these to say regarding how long Zimmer has been involved:

 

Quote

And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

 

Quote

I don't have much info to be honest since Hans & co have been silent since day one (NDA, people, NDA...). But I understood Bond became RCP (and 99% sure Hans was in) a little more than a month ago.

As for Romer (and I love his score for Beasts Of No Nation), he simply was Fukunaga's composer. I guess it just didn't work out. Steve Mazzaro (produced by Hans) replaced a score for The Rhythm Section produced by... EON (Bond)...

 

Me personally, I'm seriously happy it wasn't Balfe. Didn't even hate Fallout, but I was afraid that his treatment of Bond would further push the idea that works derivative of TDK are the only things acceptable in modern Hollywood. Hate him all you want, but you do have to admit HZ's non-Nolan works at least have a degree of variety to them, regardless of their quality. Even with the "already a month into it" info, this probably is still a bit too short an amount of time for him to deliver something great. But there's no denying that like him doing Dark Phoenix, there's already been an eclectic amount of composers that this series has had to at least allow one proper RCP entry. Am a bit cautiously curious for now.

 

And boy has it been amusing to see hell break loose from the announcement of his hiring. Not even the Balfe fanboys are this disappointed about LB not getting the job.

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7 hours ago, Gruesome Son of a Bitch said:

Maybe he'll do something more traditional and surprise us.


I don’t think I’ve ever heard Zimmer write a traditional spy score, with non synthesized brass.

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It's trash, but it's my trash. No way am I calling it one of his best works, but something about its gloriously cheesy exterior appeals to me.

 

Definitely the worst of the series in regards to sticking true to the M:I sound, though. The notable lack of "The Plot" really cements how little he likely cared, since even Balfe got that aspect down.

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7 hours ago, Edmilson said:

but if they had asked Arnold, I'm sure he would have accepted. Why he wouldn't make a comeback to his favorite franchise, to work on British TV?

 

Even if he wanted to do it, it's possible he was bound by a pre-existing contract that he couldn't get out of.

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14 minutes ago, Jurassic Shark said:

Even if he wanted to do it, it's possible he was bound by a pre-existing contract that he couldn't get out of.

 

A pre-existing contract with Dracula, you mean? I don't know... 

 

According to Arnold's Twitter, the last recording session for Dracula was on Nov 14

 

Considering the time for mixing, final touches, etc., let's suppose he was finished with the show by late november/early december.

 

Zimmer was involved with NTTD since at least early december as well.

 

The first rumour regarding Romer was no longer scoring the movie popped up on Nov 1st.

 

I guess the producers decided that they no longer wanted Romer by October, and on November they started looking for someone else. If they actually wanted to bring Arnold back, there would've been no problem with his Dracula schedule: he finishes the show on November and by December he already starts working on Bond, making everything ready to record by January or February.

 

I mean, even John Williams worked on tighter schedules than this.

 

Arnold was never an option, simply because he was deemed too old fashioned than the "renovation" they want to bring to the franchise with this movie. Zimmer will bring his "modern and edgy Hollywood sound" that will make the franchise recognizable to young people who listen to Zimmer/RC playlists on YouTube.

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