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Hans Zimmer's NO TIME TO DIE (2021)


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I don't know if anyone else has ordered the limited edition picture disc OST from Sound of Vinyl but despite the image that's still on their website advertising it as Two Double Sided Picture Discs, I've received it and it's only one LP with a shortened tracklist (which is actually in the description but still, odd/confusing all around)

https://thesoundofvinyl.com/*/*/No-Time-To-Die-The-Sound-Of-Vinyl-Exclusive-Picture-Disc-LP/74DA0000000

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42 minutes ago, Jurassic Shark said:

I'm not surprised, as the tracklist is shorter than for the CD.

Well that's the thing, the tracklist from day 1 in the description was the shorter one, while the product image on the site and other comms had the 2LP messaging...so what is the truth haha (plus the actual 2LP has 4 bonus tracks)

 

This was supposed to be just 500 pressings and they're miraculously 'in stock' still right now so I guess they ditched the 2LP idea at some point last minute and went for single..

 

 

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It’s good to see a discussion going of the potential possibility of John Williams scoring a Bond film . There are pros and cons- I just think of the new music that he would compose and not forgetting any main title music that he could adapt or work symphonically with the singer

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I'm surprised there's no credit for the Vesper theme, given it's now been confirmed to be very much intentional. Perhaps in the film, but neither website that I check for that info has been updated yet.

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I liked a lot, finally a Zimmer score for a franchise where he adapts to the movie, and not the movie to his style. I love they used some On Her Majesty’s Secret Service themes.

 

In the movie there're some instances of the usual zimme/mazzaro action music that I didn't find very remarkable, but even with that I'll say is a very solid score.

12 hours ago, HunterTech said:

I'm surprised there's no credit for the Vesper theme, given it's now been confirmed to be very much intentional. Perhaps in the film, but neither website that I check for that info has been updated yet.

Indeed, I wasn't sure if I missed it in the credits but seems they included it without crediting... 

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Doesn't basically every Zimmer score leak recording sessions anyway? I wouldn't be too concerned about missing cues.

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I'm amazed that he actually took his time to listen to a composer he despises just for making derogatory comments here.

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You've got to appreciate the passion and dedication. ;)

 

I myself really enjoy the album. It is a Bond score as reimagined by Hans Zimmer. It sounds like him, and it sounds like Bond. It does what it says on the tin so I'm good. I'd rather have Bond by Zimmer than Bond by Newman doing Zimmer. 

 

Karol

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My issue with the score is that at the points where Zimmer could have given the score some own identity by inventing some new bondish theme he just recycles old Bond themes. Why is that?

Hitting just the nostalia button instead of creating something on your own is quite poor for one of the world leading film composers.

 

Even though the film has definitely its flaws, it can stand on its own. Why can't the soundtrack? Each of the previous scores, even the Thomas Newman scores provided some deidcated themes like "at the opera" in QoS or the "Mother" theme in Skyfall. Nothing like that going on here.

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20 minutes ago, Edmilson said:

I'm amazed that he actually took his time to listen to a composer he despises just for making derogatory comments here.

 

If you'd paid attention you'd know that I like some of his earlier efforts. I keep hoping he'll do something that doesn't sound like sound design or like it was assembled at a factory.

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2 hours ago, Muad'Dib said:

"Cuba Chase" makes me think of Powell, in the best possible sense. 

 

Not sure if it reminds me of Powell, but it reminds of why I love exotic Zimmer (Last Samurai, The Lion King, MI:2, etc.). Certainly one of my favorite cues of the year so far.

1 hour ago, GerateWohl said:

My issue with the score is that at the points where Zimmer could have given the score some own identity by inventing some new bondish theme he just recycles old Bond themes. Why is that?

Hitting just the nostalia button instead of creating something on your own is quite poor for one of the world leading film composers.

 

Even though the film has definitely its flaws, it can stand on its own. Why can't the soundtrack? Each of the previous scores, even the Thomas Newman scores provided some deidcated themes like "at the opera" in QoS or the "Mother" theme in Skyfall. Nothing like that going on here.

 

I am not sure I understand this criticism. There are new materials everywhere. "Cuba Chase," "Final Ascent," "Norway Chase," "Poison Factory." He just didn't create a new Bond theme. I think maybe if this was a brand new Bond and not the end of a series, he would have. And then the criticism would be, "Zimmer doesn't respect Barry's legacy..."

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I do like this score so far. I'm a bit disappointed that 

Spoiler

the cue as Blofeld's cell slowly opens in front of Bond and Madeline seems to be missing as it was really cool

but otherwise it's great 

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I actually thought I would hate this, but I'm finding myself enjoying a lot of it.

HZ making it very difficult to dislike him at the moment with WW84 and NTTD, and quite frankly, I'm uncomfortable with this.

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I don’t know why, but NTTD score and Dune score remind me of when Hans worked on Man of Steel and Lone Ranger and both came out within a month or two of each other. 

Zimmer sold his MoS score as inventive and “like nothing we ever heard” etc etc. It had pretty high expectations. And Lone Ranger was the rush job handed off to a ton of other composers. But LR was the one I enjoyed more out of the two.

 

It’s an odd repeat of history. I enjoy the rushed score (NTTD) more than the “big inventive score”(Dune)

 

Perhaps when Zimmer doesn’t have the time to intellectualize and think too hard about a score, he’s able to create more straight-forward old fashioned film scores(?)

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2 hours ago, WampaRat said:

Zimmer sold his MoS score as inventive and “like nothing we ever heard” etc etc. It had pretty high expectations. And Lone Ranger was the rush job handed off to a ton of other composers. But LR was the one I enjoyed more out of the two.

 

It’s an odd repeat of history. I enjoy the rushed score (NTTD) more than the “big inventive score”(Dune)

Pretty much the same for me. Lone Ranger was a breath of fresh air after the incessant drumming of MoS. This year I've heard NTTD a few times already and Dune just once. 

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Dune sucks. I've played this 4 times already. 

 

The first 11 tracks are an uninterrupted supreme listening experience. 

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8 hours ago, WampaRat said:

Perhaps when Zimmer doesn’t have the time to intellectualize and think too hard about a score, he’s able to create more straight-forward old fashioned film scores(?)

 

That's obviously not what he was after.

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On 02/10/2021 at 11:58 AM, antovolk said:

I don't know if anyone else has ordered the limited edition picture disc OST from Sound of Vinyl but despite the image that's still on their website advertising it as Two Double Sided Picture Discs, I've received it and it's only one LP with a shortened tracklist (which is actually in the description but still, odd/confusing all around)

https://thesoundofvinyl.com/*/*/No-Time-To-Die-The-Sound-Of-Vinyl-Exclusive-Picture-Disc-LP/74DA0000000

Wow! They left out some of the best tracks, Cuba Chase, Home, I`ll Be Right Back...

On 02/10/2021 at 4:45 PM, crocodile said:

Is Vesper's theme on the album. I can't remember hearing it.

 

Karol

It is not. The music with it would go between "Matera" and "Message From An Old Friend"

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18 hours ago, WampaRat said:

And Lone Ranger was the rush job handed off to a ton of other composers. But LR was the one I enjoyed more out of the two.

 

I think you answered it for yourself ;)

 

On 01/10/2021 at 1:52 PM, Richard Penna said:

once you discount the song

 

which everyone most definitely should do

 

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19 hours ago, WampaRat said:

IZimmer sold his MoS score as inventive and “like nothing we ever heard” etc etc. It had pretty high expectations. And Lone Ranger was the rush job handed off to a ton of other composers. But LR was the one I enjoyed more out of the two.

 

It’s an odd repeat of history. I enjoy the rushed score (NTTD) more than the “big inventive score”(Dune)

 

I'd never thought about it that way, and I think you're right. TLR is heaps of fun, melodic and interesting, whereas MoS is occasionally tolerable if I'm in the right mood.

 

I'd also put Angels & Demons and Da Vinci Code in that category - some of his most beautiful scoring in those.

 

Is it really as simple as that? When he's given far too much time for experimentation and calls his collaborator friends for endless jam sessions, he ends up with meandering rubbish, but when asked to come up with something in 5 minutes, it's pretty good?

 

Honesty, it makes the case for his pretentiousness all the more worse. He's talented, but not when he's trying to reinvent anything.

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1 hour ago, Mephariel said:

 

I think there is some truth to it but then not really. For example, Pirates was a rush job and he came up with one of his most memorable themes. But WW84 wasn't and Patty Jenkins even said that Zimmer got tons of time to write a bunch of suites and that score turned out great. 

 

In the end, I think people are overthinking this. It is really the director. Snyder, Nolan, and Villeneuve are not looking for traditional, big orchestral scores and their movies don't fit those scores, and Zimmer didn't writes them. Jenkins made a fun film and ask for a fun score and Zimmer gave her one. Ron Howard has always lean towards the melodic side and Zimmer's score with Howard usually reflects that (DVC, Angels and Demons, Rush, Hillbilly Elegy all have central/melodic themes). With Bond, Zimmer worked inside a bubble created by Barbara Broccoli and John Barry and Arnold. It is not really that complicated. It will be interesting to see what Zimmer and Mazarro come up with for Army of Thieves since Synder is not the director and how that compares to Army of the Dead. 


Yeah I think you’re right. It probably boils down to the directors preferences.

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How the music sounds is always the director's choice. The director has a certain vision for their movie and wants the music that best fits the picture in their head.

 

There are always certain composers with whom you know that you'll always get orchestral or always more synthy/sound design.

 

Of course the composer is the one who wrotes the music, but it's always after the the director has spoken their vision

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Square Escape is a really good fusion of Zimmer action music and Bond. 
 

I’ve never heard brass used quite the way you hear 35 seconds in. Surely there is some digital wizardry at work there? The brass has both bite, rapidity, and a softness that is unreal and satisfying!


It’s on another plane from the usual choppy shit. 

 

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5 hours ago, Jurassic Shark said:

Anybody else sensing the Tron Legacy temp track love in some of the tracks?

 

Nope. But Dark Phoenix, Inception, Dark Knight Rises, Thin Red Line influences, yes. The brass is mostly Inception. 

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