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

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3 hours ago, Edmilson said:

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.

The same sound we've heard in MI:Fallout from the L0rn3.B4lf3 droid. 

 

Remember the sanctimonious drivel that Dark Phoenix gave us with a score written by dozens of people and sounding half as good as a score by a single composer. Zimmer's going to amp up that by bringing every person on board he's ever known, Beyonce will do the theme, Daft Punk will do something, Balfe and all the other underlings will be riffing for days. 

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2 hours ago, Stefancos said:

Its uncommon for Bond, till Skyfall. And Newman was an established name at least.

 

I doubt Arnold was ever considered for this.

Well, they decided to go with "name" composer for Skyfall and the soundtrack album sold extremely well...and the score itself received an Academy Award nomination. It is no wonder they wanted another "name" composer. Of course they were never considering David Arnold.

 

Karol

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5 hours ago, Arpy said:

The same sound we've heard in MI:Fallout from the L0rn3.B4lf3 droid. 

 

Remember the sanctimonious drivel that Dark Phoenix gave us with a score written by dozens of people and sounding half as good as a score by a single composer. Zimmer's going to amp up that by bringing every person on board he's ever known, Beyonce will do the theme, Daft Punk will do something, Balfe and all the other underlings will be riffing for days. 

 

Never said it was going to be good, only that this Fallout/Dark Phoenix sound is exactly what Hollywood producers are looking these days when they want to ~rejuvenate~ their franchises. 

 

And I wish Daft Punk would do the score, Tron: Legacy is a better Zimmer-like score than 90% of the efforts from Zimmer himself and his minions on the 2010s.

 

As for Beyoncé, if they haven't met before, they surely got to know each other at the Lion King sessions. Maybe Zimmer is already on the phone calling her to do the theme song?

 

Ugh, can you imagine the media coverage of a Bond movie with Zimmer composing the score and working with Beyonce on the theme song? It'll be unbearably cringe-worthy, like when he was friends with Pharell Williams, but 10 times worse.

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45 minutes ago, Edmilson said:

And I wish Daft Punk would do the score, Tron: Legacy is a better Zimmer-like score than 90% of the efforts from Zimmer himself and his minions on the 2010s.

 

Didn't Zimmer work on Tron: Legacy?

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5 hours ago, crocodile said:

Well, they decided to go with "name" composer for Skyfall and the soundtrack album sold extremely well...and the score itself received an Academy Award nomination. It is no wonder they wanted another "name" composer. Of course they were never considering David Arnold.

 

They both are well-known in our circles, but is Newman really more of a "name" composer outside the film music niche than Arnold? I'd imagine Bond fans who have a cursory knowledge of the soundtracks would be more familiar with Arnold than him.

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5 minutes ago, Matt C said:

In Variety's article, it noted both Balfe and Wallfisch refused to comment about whether they're helping Zimmer out with the score.

 

Tbh, I don't think it'll be either of them. Balfe and Wallfisch are established enough on their careers, so I think Zimmer may use this and his other 2020 movies to push the careers of some other protegees who haven't got the chance to receive top billing on a blockbuster just yet, like Mazzaro, Kawczynsky or Jacob Shea.

 

8 minutes ago, Stefancos said:

Didn't Zimmer work on Tron: Legacy?

 

He was credited as a producer or something, right?

 

Actually, what does a "producer" on film scores like we see on many Zimmer/RC soundtracks? "Music Composed by Generic Zimmer Minion, Music Produced by Hans Zimmer". And if that's a common thing, who was a producer on Williams' scores? Bill Ross?

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3 minutes ago, Marian Schedenig said:

 

They both are well-known in our circles, but is Newman really more of a "name" composer outside the film music niche than Arnold? I'd imagine Bond fans who have a cursory knowledge of the soundtracks would be more familiar with Arnold than him.

 

Newman is just better known in Poland, apparently. :)

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Newman is definitely an A list name. 14 Oscar nominations, soon to be 15. Scored many classics, many Best Picture nominated films, prestige composer who has worked with A list directors.

 

I like Arnold but he's nowhere close to Newman in terms of reputation and recognition in the industry.

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6 hours ago, crocodile said:

Well, they decided to go with "name" composer for Skyfall and the soundtrack album sold extremely well...and the score itself received an Academy Award nomination. It is no wonder they wanted another "name" composer. Of course they were never considering David Arnold.

 

Karol

 

Newman was hired because he's Mendes' main guy.

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49 minutes ago, Edmilson said:

Actually, what does a "producer" on film scores like we see on many Zimmer/RC soundtracks? "Music Composed by Generic Zimmer Minion, Music Produced by Hans Zimmer". And if that's a common thing, who was a producer on Williams' scores? Bill Ross?

 

Actually it'll say "Music by Hans Zimmer" but the booklet and or IMDB will say "Additional Music By" and the ones who did "additional music" are the ones who really did the score.


Edit: I really wished they had brought David Arnold back or at the very least a better composer like Brian Tyler or someone else who would do score that won't be just noise and really no theme.

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19 hours ago, Edmilson said:

 

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?

 

Arnold definitely wasn't asked, I believe he's said as much since this announcement. And it'd be weird for them to think Arnold is too old fashioned, wasn't he the reason the Propellerheads ended up contributing to a Bond score in the late 90s? Arnold is fairly adventurous for a composer, and I'd imagine he's certainly better at incorporating new influences into the score while still anchoring it to classic sounds than Zimmer/Wallfisch. Their score for Blade Runner 2049 isn't bad really, but it's also not doing much? It's just a lot of swelling chords and droning, buzzing crescendoes, with the one overt melodic reference to the old score. It works as like a La Croix'd reminder of what Vangelis had done, a hint of the flavor but none of the real taste. I'm afraid that's basically what we're going to get with this, too. Something that splits the difference between Newman's scores, Zimmer's sound, with probably one or two big statements of the Bond Theme and that's it. 


Powell would have done this right. Giacchino probably would have done a pretty good job as well, considering he's knocked out two Barry homages already on The Incredibles. But I get the feeling the producers didn't put any more thought into it than "Can we get Zimmer, let's get Zimmer." Arnold probably wasn't asked because it likely never occurred to anyone to ask anyone BUT Zimmer. 

 

re: TRON Legacy - IIRC that score was mostly Joseph Trapanese taking a couple Daft Punk ideas and doing all the orchestration and arranging. Zimmer had nothing to do with it. But Daft Punk didn't have as much to do with it as it's commonly believed, either. I might have that wrong, though.

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That's a nice tribute. The best than we can hope for is that he'll stay true to the Bond "sound", but with his own spin. Then again, ON HER MAJESTY'S SECRET SERVICE sounds fuck all, like INCEPTION, so...

 

 

 

1 hour ago, TheUlyssesian said:

I like Arnold but he's nowhere close to Newman in terms of reputation and recognition in the industry.

Maybe not in "the industry", but if you ask any serious Bond fan as to who, after The Guv'nor, embodies Bond music, you'll always get one reply. The fact is, Bond needs Arnold, more than Arnold needs Bond.

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1 hour ago, Trent B said:

Actually it'll say "Music by Hans Zimmer" but the booklet and or IMDB will say "Additional Music By" and the ones who did "additional music" are the ones who really did the score.

 

 

I was thinking about the 2009 Sherlock Holmes OST, on which the cover said the music was "composed by Hans Zimmer and produced by Lorne Balfe"

 

Sherlock_Holmes_Soundtrack.jpg

 

I always wondered the "produced by" credit was just a simpler way of saying that Zimmer wrote some ideas while Balfe composed most of the score, lol.

 

18 minutes ago, Larry O said:

Arnold definitely wasn't asked, I believe he's said as much since this announcement. And it'd be weird for them to think Arnold is too old fashioned, wasn't he the reason the Propellerheads ended up contributing to a Bond score in the late 90s? Arnold is fairly adventurous for a composer, and I'd imagine he's certainly better at incorporating new influences into the score while still anchoring it to classic sounds than Zimmer/Wallfisch. Their score for Blade Runner 2049 isn't bad really, but it's also not doing much? It's just a lot of swelling chords and droning, buzzing crescendoes, with the one overt melodic reference to the old score. It works as like a La Croix'd reminder of what Vangelis had done, a hint of the flavor but none of the real taste. I'm afraid that's basically what we're going to get with this, too. Something that splits the difference between Newman's scores, Zimmer's sound, with probably one or two big statements of the Bond Theme and that's it. 


Powell would have done this right. Giacchino probably would have done a pretty good job as well, considering he's knocked out two Barry homages already on The Incredibles. But I get the feeling the producers didn't put any more thought into it than "Can we get Zimmer, let's get Zimmer." Arnold probably wasn't asked because it likely never occurred to anyone to ask anyone BUT Zimmer. 

 

 

My point is that Arnold was too connected to the old Bond movies, providing mostly orchestral score to them, and with NTTD the producers want to bring the franchise to the XXI century/post-modern/post-MeToo/post-whatever era. And Zimmer, which, let's be honest, defined the sound of Hollywood on the 2010s, is the ideal composer for that, moreso than Arnold, which again is too connected to the past of the franchise. Anyway, it's just how I read the situation.

 

But yeah, I would love a Powell Bond score, specially if he does it on his Paycheck style.

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I think we're both on the same wavelength, but I'm actually probably a little more cynical about it - I don't think they were "trying to bring the franchise into a post-modern" whatever because they already did that when they rebooted everything, and then again with Skyfall. I think it's essentially just... for lack of a better term... starfucking. I'm imagining a scenario where they made Fukunaga ditch his composer after he turned in something thoughtful but untidy, and then basically went after the first giant name that popped into their head, and there was no more thought put into it than that. "Bringing the franchise into the modern era" probably didn't even occur to them, or if it did, they're not thinking about how the score would do that for them. The only thing that likely occurred to them is "What's a name we can stick on the credit block that sounds important." 


Thus: Zimmer. I really do think there's nothing more to it than that. First name conjured, first name accepted. 

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38 minutes ago, Edmilson said:

 

My point is that Arnold was too connected to the old Bond movies, providing mostly orchestral score to them, and with NTTD the producers want to bring the franchise to the XXI century/post-modern/post-MeToo/post-whatever era. And Zimmer, which, let's be honest, defined the sound of Hollywood on the 2010s, is the ideal composer for that, moreso than Arnold, which again is too connected to the past of the franchise. Anyway, it's just how I read the situation.

 

But yeah, I would love a Powell Bond score, specially if he does it on his Paycheck style.

 

 

Isn't Zimmer's music widely considered to be more masculine and muscular? Wouldn't that be too problematic for the #metoo feminist whackjobs?

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Guys, do we have to do the whole garage-grumbling Married With Children No Ma'am thing, as if there isn't any valid reason for #MeToo to exist? The concerns of and about so-called "Feminist Whackjobs" don't really have shit to do with any of this. 

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6 minutes ago, Larry O said:

Guys, do we have to do the whole garage-grumbling Married With Children No Ma'am thing, as if there isn't any valid reason for #MeToo to exist? The concerns of and about so-called "Feminist Whackjobs" don't really have shit to do with any of this. 

 

Sadly that kinda stuff is allowed on JWfan

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8 minutes ago, Larry O said:

Guys, do we have to do the whole garage-grumbling Married With Children No Ma'am thing, as if there isn't any valid reason for #MeToo to exist? The concerns of and about so-called "Feminist Whackjobs" don't really have shit to do with any of this. 

 

Yeah, annoyingly, it's often the people who complain the most that identity politics has infected every facet of society that are the first to bring it into a conversation.

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58 minutes ago, Þekþiþm said:

 

 

Isn't Zimmer's music widely considered to be more masculine and muscular? Wouldn't that be too problematic for the #metoo feminist whackjobs?

 

What I meant is that Zimmer's action music has more of a "2010s appeal" than a traditional Arnold Bond score. 

 

In other words, the Broccolis want their movie to sound like Fallout, Fury Road and The Dark Knight Rises because that's the kind of action scores they think that young people listen these days, which is not entirely untrue. These younger demographics care more about Fast and Furious, MCU and Fortnite than about their dad's franchises, like Star Trek or Bond, and it's exactly that kind of people they are trying to bring on watching the movies.

 

In the minds of the money people, a Bond movie scored by the guy whose music has billions of views on YouTube/Spotify, that can probably bring a buzzy pop artist to do the theme song (like he did when he brought Pharrell and Alicia Keys to TASM2), is more valuable than the guy who scored the older movies.

 

It's a publicity stunt more than anything.

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50 minutes ago, Edmilson said:

 

It's a publicity stunt more than anything.

 

I don't think the assignment is a publicity thing but they're going to market the shit out of the soundtrack on release.

 

And of course Zimmer will have plenty to say about how he 'reinvented Bond'.

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I usually like most of what I hear from Zimmer (not Dunkirk though), so this is rather good news for me. It has the potential to be at least interesting, and maybe even good, if he applies himself and doesn't delegate too much...

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5 hours ago, Lord Zimmer said:

 

Uhu....Fuck you.

 

Dude I just couldn't imagine you writing something as dainty and effeminate as Horner's The Amazing Spider-Man... then they hauled you in for the sequel to man him up and make Spider-Man sound more like a manly man. And no-one else seemed to notice!

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