NO TIME TO DIE (2021) - Discuss Hans Zimmer's Score

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  • Posts: 3,161
    vzok wrote: »
    It’s much more common in movies to use source music like those classical pieces. Much less common to just plunder a previous movie for soundtrack ideas.

    Can you be more specific?

    'Mother' in Skyfall is only heard when 'M' is present, making it her motif. In SP it's then used again, when we see her on a recording in Bond's apartment.

    Is that what you would consider plundering?
  • edited July 2019 Posts: 6,665
    Murdock wrote: »
    The basic foundation of the Bond sound is a big orchestra and brass.

    That is the truth. And that's why I'm afraid for Bond25.
  • Bentley007Bentley007 Manitoba, Canada
    Posts: 564
    I am hoping Mr. Romer brings back the flute to Bond scores. Some of my favourote Barry tracks feature the flute.
  • Posts: 820
    DoctorNo wrote: »

    Romer... no one’s talking about his ‘trademark’ plucky strings used in all his scores. It’s a safe bet we’re getting a plucky string Bond score, with little brass (seriously brass rarely exists in his scores), and then the ambient sounds of little melody. It will be interesting to see if he gets the larger than life quality to Bond, wants to show some or any nods to tradition, or just scores it like he would any of his other works... and I’m sorry I’m not hearing great diverse range the way others are claiming about his scores. But I realize time wise his career has been limited, so it’s a big question mark to find out what his range and what he delivers will be... fingers crossed it’s great... but I’m not going to be surprised either if it ends up being kind of just there with a nice moment or two and then forgettable.

    I can't agree with you here.

    People said the exact same thing about Newman, and—regardless of where his work falls in your own personal tastes—he had zero trouble matching and delivering the "big" sound we've come to expect from Bond. "The Bloody Shot", "She's Mine", "Backfire" and more instantly come to mind.

    And Dan Romer, like Newman, is a supreme talent above all else. He's already demonstrated tremendous versatility in his work and I've no doubt he can capture the sound of Bond.

    The real, more intriguing question to me will be: what type of film is Fukunaga's Bond 25 and thus, what kind of sound will it demand to compliment it?
  • Posts: 1,314
    I loved the score for Skyfall. The approach to the macau casino, the approach to silvas island are all great pieces of music. Then spectre I largely was left ambivalent. I like the eeriness of the silver wraith part but otherwise it felt like a rehash.

    For me OMHSS is still the high water mark. Journey to Blofelds hideaway is a piece I can play over and over. Sunday morning first thing making a coffee. What a start to the day. 👍🏻
  • Posts: 820
    Matt007 wrote: »
    I loved the score for Skyfall. The approach to the macau casino, the approach to silvas island are all great pieces of music. Then spectre I largely was left ambivalent. I like the eeriness of the silver wraith part but otherwise it felt like a rehash.

    For me OMHSS is still the high water mark. Journey to Blofelds hideaway is a piece I can play over and over. Sunday morning first thing making a coffee. What a start to the day. 👍🏻

    If I'm hard pressed to pick an all-time favourite 007 score track, it's probably indeed that one. A lot of Bond musical perfection in that score. I wear it out listening to it every Christmas.
  • edited July 2019 Posts: 4,023
    Zekidk wrote: »
    vzok wrote: »
    It’s much more common in movies to use source music like those classical pieces. Much less common to just plunder a previous movie for soundtrack ideas.

    Can you be more specific?

    'Mother' in Skyfall is only heard when 'M' is present, making it her motif. In SP it's then used again, when we see her on a recording in Bond's apartment.

    Is that what you would consider plundering?

    I did a whole thread of soundtrack reviews on here, and I did SP track by track. I can’t be more specific than I was in that. Off the top of my head he uses The Bloody Shot (or the other pts cue) in the helicopter fight, he uses his Skyfall in the funeral scene and again for Mr White, pts again in Backfire, and he runs (and runs) The Moors through 5 tracks for the London finale. Now that’s what I call plundering.
  • ResurrectionResurrection Kolkata, India
    edited July 2019 Posts: 2,541
    AgentM72 wrote: »
    Matt007 wrote: »
    I loved the score for Skyfall. The approach to the macau casino, the approach to silvas island are all great pieces of music. Then spectre I largely was left ambivalent. I like the eeriness of the silver wraith part but otherwise it felt like a rehash.

    For me OMHSS is still the high water mark. Journey to Blofelds hideaway is a piece I can play over and over. Sunday morning first thing making a coffee. What a start to the day. 👍🏻

    If I'm hard pressed to pick an all-time favourite 007 score track, it's probably indeed that one. A lot of Bond musical perfection in that score. I wear it out listening to it every Christmas.

    Count me in, the same. Was listening to it yesterday. :D
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    It’s only a few cues he reused, but I understand that in the context of Bond soundtracks, which rarely reused previous cues in the past, it’s more than too much for some who would prefer completely new cues.

    I'm really fascinated over the subject of the SPECTRE soundtrack, so I created a thread that's much more focused on that, so that this thread can be more geared toward Bond 25 and Romer's hiring and potential. Feel free to post thoughts.

    https://www.mi6community.com/discussion/19240/spectres-reuse-of-the-skyfall-cues-the-good-the-bad-and-the-inexplicable/p1?new=1
  • edited July 2019 Posts: 3,333
    vzok wrote: »
    bondsum wrote: »
    That Duran Duran song that you seem to dismiss was for me a much needed shot in the arm for Bond songs, coming after a string of ballads trying to chase the success of “Nobody Does it Better”.
    Maybe I didn't make myself clear but I was trying to say the Duran Duran song was the "only" good thing to come out of the movie, the rest was a stinker.

    Not even keen on the Moore - Macnee banter?
    Not really, to be honest with you @vzok. I thought it was a cute nod to the nostalgia of their shared Sixties TV past, as in The Saint meets John Steed, but other than that I thought they were both too long in the tooth for a Bond movie. Those were my initial thoughts back in 1985.
    Walecs wrote: »
    True, even FRWL's climax reused the music from DN's climax. It's not wrong if it's used once in the movies, it's a problem if more than one third of the music in the movie is rehash from the previous movie.
    That cue was down to Peter Hunt not John Barry. Barry had left that moment with the SPECTRE helicopter being shot down unscored, possibly due to postproduction running extremely late and having to play catch up with the rest of the film's score. The one advantage Barry had to aid him complete the compositions was having Bart's title song in advance and of course the James Bond theme, which he used throughout. That's not to mention a couple of scores that appear on the LP that weren't included in the movie. Don't ask me why they weren't included as that's down to Peter Hunt and not Barry.

    Fast-forward and the use of Tchaikovsky's Romeo and Juliet Overture plus Elmer Bernstein's theme from The Magnificent Seven were just a continuation of the goofball silliness of TSWLM where Marvin Hamlisch first used the theme from Lawrence of Arabia and it becoming a trend with the subsequent two films in the series similarly referencing 'classic' film music within their scores. Another reason why I dislike this period in Bond history and refuse to hold it up as a shining example.

    I'll be honest, I never noticed the reused cues from SF in SP. Maybe because both scores were so bland and bromidic that they both just washed over me. The only two cues that I can distinctly remember from either film, is the track called "Los Muertos Vivos Estan" which I thought was great (probably due to Tambuco more so than Newman) and "Komodo Dragon" from SF, which was down to the producer's insistence that an interpolation of Adele's song be included. Some claim that wasn't even Newman, but I don't know the real truth, and quite frankly I don't really care as Newman's entire score does nothing for me.
  • Posts: 4,023
    It’s only a few cues he reused, but I understand that in the context of Bond soundtracks, which rarely reused previous cues in the past, it’s more than too much for some who would prefer completely new cues.

    I'm really fascinated over the subject of the SPECTRE soundtrack, so I created a thread that's much more focused on that, so that this thread can be more geared toward Bond 25 and Romer's hiring and potential. Feel free to post thoughts.

    https://www.mi6community.com/discussion/19240/spectres-reuse-of-the-skyfall-cues-the-good-the-bad-and-the-inexplicable/p1?new=1

    It's something like a dozen tracks out of 30 that are recycled.
  • CatchingBulletsCatchingBullets facebook.com/catchingbullets
    Posts: 292
    bondsum wrote: »
    It might be worth noting that the best beats of Bond music history have always been when someone did something DIFFERENT. Casting John Barry, giving a torch song to a pop singer from Wales, getting an ex Beatle to come up with a totally non-Beatles sound, allowing a pop band to create new sounds in '85, having a jazz veteran the kids didn't know anymore come in the heat of flower power come and record a love ballad for '69, giving a title song to a TV talent show winner so soon after she won and giving a song to a '90s rock star with zero linkage to Bond, Britain and cinema. Different is never the same as wrong. This Bond film will have a younger zeal to it - for many reasons.
    Giving the composing duties to John Barry wasn't "different" as he'd already shown his musical talent by rearranging Monty Norman's James Bond theme for Dr. No. The only reason that there was a theme at all was because, according to Norman himself, that it was an assistant to Broccoli and Saltzman that remarked: "See if you can come up with a good theme, because I think we'll get two films and a television series out of this!". You see, they weren't really thinking that far ahead at the time. Also, it's worth remembering that Norman struggled coming up with a theme, having his "Scottish theme" rejected. Even Peter Hunt said in post production that Norman's music "just doesn't seem to fit the picture somehow... I don't think it's working." Terrence Young was even more disparaging about it, referring to it as "mining disaster music" and feeling they had to bring someone else in on it. It was United Artists Music publishing that suggested John Barry, and it was Saltzman that was urged to get into contact with him. That's not to say Norman was out after Dr. No, as the producers brought him back to score Call Me Bwana immediately afterwards. However, Hunt would insert Barry's theme wherever he could to alleviate Norman's underwhelming score throughout Dr. No. It was both Hunt and Young that were most impressed with Barry, which was the real reason why he was hired instead of Norman on FRWL. The rest is cinematic history.

    However, you go on to mention the Louis Armstrong song from OHMSS but it was purely an artistic one and decidedly uncommercial as it didn't chart at all!! Of course, I'm not talking about the 1994 advertising Guinness campaign that used it for their TV commercial and which gave it a belated UK spot in the charts. Not that the likes of Thomas Newman could ever score a decent song to start with that could be re-released 24 years later and be a huge hit. That accolade belongs only to Barry. Fortunately, Barry steered clear of the Hippy sound in the late Sixties, too, which I notice you mention but don't give any reasons to how juxtaposed Louis Armstrong's song actually was to what was happening around it. In other words, it sounded rather antiquated at the time.

    You then mention George Martin, who wasn't such a leftfield choice as you make him out to be. I can distinctly remember thinking at the time, if it ain't Barry then George Martin's a good alternative as his "Theme One" score for Radio One demonstrates a Barry-esque sound. I think Martin even mentioned as much himself. I'd even go so far as to say Martin is really the only other Bond composer to deliver something fresh but at the same time sounding very Bondian out of all the non-Barry Bond composers. We've also had disco Bond music (Hamlisch and Conti) even Barry had a go himself with the end titles of MR but was sensible enough not to include it in his actual score.

    As for the TV talent show winner Sheena Easton, blah. She was just a performer, not an actual composer, and a last-minute replacement for Blondie to boot. "Different is never the same as wrong" doesn't mean that the end results can be underwhelming or poor. Neither does being different equate to being good, either. "This Bond film will have a younger zeal to it - for many reasons" but not for its lead star though, I might add. AVTAK also had a younger zeal about it, but look how that one turned out. A right old stinker in all but its title song performed by Duran Duran.

    The other thing I take exception to, not from you @CatchingBullets, but from those that witter on about change being good and moving forwards means making big changes in order to be successful, is that there's no proof to back it up. Outside of Bond, a lot of creative changes to franchises have had a detrimental effect on their box office results. Let's not forget that we've had big changes in the past on Bond, also. I'd counter that Moore going all slapstick in his later days was a big step-away from the more successful down-to-earth Connery Bond's. I'm sure some will try to brush that under the carpet and blame it on the changing taste of audiences in the Eighties, but it'll be a lie as the audience had some carryover from the Seventies. Without going into too much detail and writing a long thesis, people will make excuses where it suits them to backup their own claims and personal tastes.

    However, you can't deny there's a distinct "Bond Sound" that exists in the majority of the franchises DNA. Even when it isn't a Bond film, there's probably thousands of examples on Youtube where people comment on how Bondlike something sounds which isn't actually composed by Barry himself. Why is that? Maybe because it embraces Barry’s unique mix of jazz, rock, pop and traditional orchestral writing, or maybe whoever composed it understood what gave it that Barry sound and are trying to pay homage to it. But to say we need to move away from what Cubby claimed was “ultimately very important to the whole cinematic history of Bond” for something that is flavourless and tonally generic, doesn't make a whole lot of creative sense to me.

    Will Dan Romer be another vapid Thomas Newman clone, or will he at least try to understand the Bond sound and deliver something half-resembling one, I'm afraid remains to be heard? Of course, I'm hoping for the latter, but I won't hold my breath.

    Thomas Newman's work has sometimes performed better than a pop single of old. The downloads and usages of his cues for AMERICAN BEAUTY are heard millions of times a day via the various cell networks using the cues.

    Way too many Bond music fans think they have found and can emulate the Bond sound. The truth is the Bond sound has many facets and tangents - whether on the title song or soundtrack cues - and sounding like Bond is exactly what tends to be ignored. To repeat my initial thought... the best Bond musical works (especially the title anthems) tend to not be the obvious. "Bondian" sounding tunes would rarely actually make good Bond songs in a real Bond film.

    Why would Dan Romer want to or even be able to come up with something "generic" and "flavourless" for Bond? That is not why he has been hired.

    Yes, there is already a younger zeal about the look and palette of this film and yes that also applies too to Mr Craig. Bash A VIEW TO A KILL because it is easy, by all means. But not everyone - especially some of those now charged with the creative decisions of Bond - are against that film. The very opposite. Not liking something isn't the same as it being creatively terrible. One might say that Thomas Newman is "vapid" but then others highly rate a great amount of his work.

    The Louis Armstrong comment was regarding how in the height of 1969 and a very different cultural, youth steered culture and movie culture, it was a brave move to attach a song to a film from a jazz legend when younger audiences were hitchhiking back from Woodstock. It worked brilliantly of course and the right choice was made, but it was a brave call when the younger audiences needed to chime with Bond.

    And yes - Bond has always evolved with his times and cinema's times. BOND 25 will feel very different in parts to CASINO ROYALE as cinema is an ever evolving beast.

  • Posts: 4,023
    What is this Monty Norman Scottish theme?
  • edited July 2019 Posts: 3,333
    Thomas Newman's work has sometimes performed better than a pop single of old. The downloads and usages of his cues for AMERICAN BEAUTY are heard millions of times a day via the various cell networks using the cues.
    Seriously? The American Beauty music is heard millions of times a day? That's somewhat stretching its popularity and creditably. I don't think even John Williams receives that kind of adulation, unless it's being used as a phone ringtone instead of its intended purpose, like actually listening to the soundtrack all the way through. Come to think of it, the American Beauty score does sound like a telephone ringtone and maybe some do use it for that purpose. Okay, but even if that were true (which I don't believe it is) you're praising a 20-year-old score that has no correlation to Bond other than it's composer. The question is: why isn't the Spectre score being played millions of times a day instead of American Beauty? I wonder why?
    Way too many Bond music fans think they have found and can emulate the Bond sound. The truth is the Bond sound has many facets and tangents - whether on the title song or soundtrack cues - and sounding like Bond is exactly what tends to be ignored. To repeat my initial thought... the best Bond musical works (especially the title anthems) tend to not be the obvious. "Bondian" sounding tunes would rarely actually make good Bond songs in a real Bond film.
    And the reverse can be said of the composers that were actually hired and didn't accomplish that Bond sound. Surely, even you @CatchingBullets, can understand that the finest Bond scores worked best by weaving the title song into the soundtrack and not just using it the once, and begrudgingly at that. Personally, I don't care about a composer's prestige or how many awards he has on his mantelpiece. I happen to like Bernard Herrmann, but there's a reason why his sound wasn't suitable for a Bond movie when Barry was unavailable for hire. The same could be said of Elmer Bernstein and Maurice Jarre. Both great composers when working on material suited to them but highly inappropriate for a Bond movie.
    Why would Dan Romer want to or even be able to come up with something "generic" and "flavourless" for Bond? That is not why he has been hired.
    Let's not kid ourselves. Romer was hired because of his ongoing creative partnership with Cary Fukunaga the same way as Newman was hired when Mendes was directing, regardless of his suitability. I'm just hoping Romer doesn't come up with something "generic" and "flavourless".
    Yes, there is already a younger zeal about the look and palette of this film and yes that also applies too to Mr Craig. Bash A VIEW TO A KILL because it is easy, by all means. But not everyone - especially some of those now charged with the creative decisions of Bond - are against that film. The very opposite. Not liking something isn't the same as it being creatively terrible. One might say that Thomas Newman is "vapid" but then others highly rate a great amount of his work.
    The reason why AVTAK is easy to bash is mostly down to it not being a very good movie and one of the weakest in the entire Bond series. For me and many others, the score and title song are it's biggest strengths. I don't see a musical correlation between the two movies yet, but I can use the "younger zeal/look" of AVTAK as a negative to suggest that it doesn't always equate to something positive in its end results. I'm sure Michael G. Wilson is one of those you mentioned not being against that particular film, especially as he co-wrote and co-produced it. Alas, I haven't seen enough, or anything of worth yet, to draw any real conclusions on B25. For all I know, those brief glimpses we saw might not even make it in the final cut. What I mean is, I don't know how this all comes together to say it's going to have great energy.

    But you're right when you say "others highly rate a great amount of his (Newman's) work" though, I might add, there appears to be little love shown here on this Bond forum for it. I could also say "others" highly rate DAF, but it's difficult to quantify and add support to my own belief that this Bond movie is still of a high-caliber, even if I use its huge box office receipts to back it up. Of course, you're going to get exceptions that like something that many others do not. Ed Sheeran case in point.
    The Louis Armstrong comment was regarding how in the height of 1969 and a very different cultural, youth steered culture and movie culture, it was a brave move to attach a song to a film from a jazz legend when younger audiences were hitchhiking back from Woodstock. It worked brilliantly of course and the right choice was made, but it was a brave call when the younger audiences needed to chime with Bond.
    I happen to love the Louis Armstrong song and also love the way Barry incorporated it into his score, but it was a song that didn't bow to the contemporary hipster landscape around it, which is at odds with what you're saying about continually moving forward. If anything, the song had two feet planted firmly in the past. A modern day example would be perhaps like getting Smokey Robinson to perform a romantic ballad on B25 and having it as your only featured song in the movie. Notice I don't include Do you Know How Christmas Trees are Grown? because it's played incomplete and faintly in the background. Then again, that sounds more traditional than counterculture contemporary for '69. But Barry could get away with anything because he's bloody brilliant.
    And yes - Bond has always evolved with his times and cinema's times. BOND 25 will feel very different in parts to CASINO ROYALE as cinema is an ever evolving beast.
    Not wanting to pick apart everything you say, but you make it sound like we're experiencing a continued Golden Age of Hollywood when it's the complete opposite. Poorly-received remakes (reboots) and a plunge in U.S. box office receipts every year paint a different picture entirely of an evolving cinema. Like the current apathy towards new homogeneous music governed by algorithms, movies are stuck in a creative rut thanks mostly to the guys in suits not taking creative risks anymore. However, Bond is the exception due to its long established tradition that relies heavily on delivering what made it successful over the course of its 50 year life. I seem to recall Cubby saying to his daughter: "It's okay if you screw it up, but don't let anybody else screw it up for you." He said that for a reason and he meant that she should keep creative control. I'm not so sure she kept to that advice with Mendes and the same applies to Fukunaga.

    For the record, I don't know how B25 is going to look or sound. It might be absolutely astounding and Romer ends up knocking it out of the symphonic bandstand. But past experiences have taught me not to be over-exuberant and to set my expectations much lower. I'm still a big fan of the series but that doesn't mean I'm going to fawn over every single artistic decision that gets made because it's a Bond movie and as a consequence does everything right, because that's clearly not the case. Secondly, we've waited five years for this movie, so it's going to have to be beyond run-of-the-mill for me to get excited by. Sadly, Romer doesn't excite me. I'm hoping he can change my mind.
  • Posts: 3,333
    vzok wrote: »
    What is this Monty Norman Scottish theme?
    According to Jon Burlingame's the Music of James Bond, the UA's publicity department had been thinking of music in terms of promotional possibilities even before filming began. At a January 9, 1962, meeting, publicists urged the writing of "a calypso song about the exploits of James Bond" and suggested "a Scottish theme be written into the score to distinguish Bond throughout the series," the latter apparently referring more to Scottish actor Sean Connery (who had already been cast) and not Fleming's yet-to-be published YOLT book. Norman couldn't come up with a Scottish theme so decided perhaps that "Bad Sign, Good Sign" which was a trunk song, never used and put away for another project, might be reusable for Dr. No.

    On a side note, Young disliked Norman's score and would've preferred William Walton instead.
  • Posts: 4,023
    bondsum wrote: »
    vzok wrote: »
    What is this Monty Norman Scottish theme?
    According to Jon Burlingame's the Music of James Bond, the UA's publicity department had been thinking of music in terms of promotional possibilities even before filming began. At a January 9, 1962, meeting, publicists urged the writing of "a calypso song about the exploits of James Bond" and suggested "a Scottish theme be written into the score to distinguish Bond throughout the series," the latter apparently referring more to Scottish actor Sean Connery (who had already been cast) and not Fleming's yet-to-be published YOLT book. Norman couldn't come up with a Scottish theme so decided perhaps that "Bad Sign, Good Sign" which was a trunk song, never used and put away for another project, might be reusable for Dr. No.

    On a side note, Young disliked Norman's score and would've preferred William Walton instead.

    Thanks for that information.
  • JamesCraigJamesCraig Ancient Rome
    edited July 2019 Posts: 3,497


    I'm ok with this style.

    The perfect chill out music after such a troublesome production. :>
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,459
    I have faith that Romer can do more than one style. Yeah. Not worried.
  • talos7talos7 New Orleans
    Posts: 7,891
    No doubt Cary and Romer discussed the film and score prior to his being brought on board. It’s very apparent that Cary is making a modern Bond that is heavily flavored by what has come before ; I would expect that he wants the same in the score, vintage/modern
  • CASINOROYALECASINOROYALE Somewhere hot
    Posts: 1,003
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.
  • PavloPavlo Ukraine
    Posts: 323
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.

    "Sleepwalking in the Rift", "Far Cry", "Beasts of No Nation", "Maniac" are all very different instrumentally, stylistically, tonally. Listen to "Maniac" and then "Sleepwalking..." and you'll notice how different this scores. Can even think that two different composers created them.
  • CASINOROYALECASINOROYALE Somewhere hot
    Posts: 1,003
    Pavlo wrote: »
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.

    "Sleepwalking in the Rift", "Far Cry", "Beasts of No Nation", "Maniac" are all very different instrumentally, stylistically, tonally. Listen to "Maniac" and then "Sleepwalking..." and you'll notice how different this scores. Can even think that two different composers created them.

    Yeah I spotified them all.

    I see what you mean, but they all have the trademark plucky string that he does.

    Maniac definitely has some potential Bond vibes. That’s a physiological thriller just like Bond is rumored to be. So could get something similar.
  • JamesCraigJamesCraig Ancient Rome
    Posts: 3,497
    Pavlo wrote: »
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.

    "Sleepwalking in the Rift", "Far Cry", "Beasts of No Nation", "Maniac" are all very different instrumentally, stylistically, tonally. Listen to "Maniac" and then "Sleepwalking..." and you'll notice how different this scores. Can even think that two different composers created them.

    Yeah I spotified them all.

    I see what you mean, but they all have the trademark plucky string that he does.

    Maniac definitely has some potential Bond vibes. That’s a physiological thriller just like Bond is rumored to be. So could get something similar.

    A trademark is not the same as sounding always the same.
  • CASINOROYALECASINOROYALE Somewhere hot
    Posts: 1,003
    JamesCraig wrote: »
    Pavlo wrote: »
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.

    "Sleepwalking in the Rift", "Far Cry", "Beasts of No Nation", "Maniac" are all very different instrumentally, stylistically, tonally. Listen to "Maniac" and then "Sleepwalking..." and you'll notice how different this scores. Can even think that two different composers created them.

    Yeah I spotified them all.

    I see what you mean, but they all have the trademark plucky string that he does.

    Maniac definitely has some potential Bond vibes. That’s a physiological thriller just like Bond is rumored to be. So could get something similar.

    A trademark is not the same as sounding always the same.


    I mean they all sound the same to me.. It’s the same plucky string and synths. Maniac is probably his best work.

  • JamesCraigJamesCraig Ancient Rome
    Posts: 3,497
    JamesCraig wrote: »
    Pavlo wrote: »
    His scores all sound very similar. A lot of synths + plucky strings.

    I have a feeling we will be getting a Dr No-Thunderball styled film. Very retro. I haven’t been that impressed with any of the Craig Soundtracks besides Casino Royale.

    Komodo Dragon is probably my favorite, Istanbul, Day Of The Dead, Backfire are not terrible.

    I’m hoping Dan can bring something different than his previous projects. Fingers crossed.

    "Sleepwalking in the Rift", "Far Cry", "Beasts of No Nation", "Maniac" are all very different instrumentally, stylistically, tonally. Listen to "Maniac" and then "Sleepwalking..." and you'll notice how different this scores. Can even think that two different composers created them.

    Yeah I spotified them all.

    I see what you mean, but they all have the trademark plucky string that he does.

    Maniac definitely has some potential Bond vibes. That’s a physiological thriller just like Bond is rumored to be. So could get something similar.

    A trademark is not the same as sounding always the same.


    I mean they all sound the same to me.. It’s the same plucky string and synths. Maniac is probably his best work.

    They don't all sound the same.

  • Posts: 820
    There's a lot of variance in Romer's scores. Check out his Far Cry 5 work if you want something closer to conventional action music. Not a plucked string in sight in some of those pulse-pounding tracks.
  • JamesCraigJamesCraig Ancient Rome
    edited July 2019 Posts: 3,497
    AgentM72 wrote: »
    There's a lot of variance in Romer's scores. Check out his Far Cry 5 work if you want something closer to conventional action music. Not a plucked string in sight in some of those pulse-pounding tracks.

    That one would be so nice as background music while working. :-?
  • Posts: 3,275
    That is absolutely beautiful. Better than anything Poundshop John Barry A.K.A. David Arnold has ever produced.

    Really?? Just sounded dreary and plodding to me. Arnold's Venice theme is far superior.
  • Posts: 3,275
    Zekidk wrote: »
    Pavlo wrote: »
    franchise must adapt to new environment in order to be successful.
    Using classic big orchestral scores with strings, horns and brass, isn't a determining factor for the success or failure of a movie. With few exceptions, the score rarely is.

    If the producers were really that much into "adapting to new environment", the Bond score in the late 60's would have been a rock template, the score in the 70's would have been disco, and the score in the 90's would have been grungemusic.

    They did go contemporary when Barry took a break and wasn't around. And today the score from TSWLM and FYEO stand out as some of the weakest because they now largely sound dated.

    The Bond franchise is successful because the producers and main crew respect and usually honor the legacy. Not all things in the world should change in order for it to stay a success. Call me old-fashioned, but I don't want any fancy contemporary synth and weird sounding experiments from Romer. I just want a Bond score.

    Well said. I'm really not looking forward to Bond 25 at all now. The score is a big thing for me in a Bond film. EON are just showing once again they are no longer fit to run the franchise anymore.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    I think that would be unfair to write him off before he even delivered his score, as it was unfair of those who wrote off Craig before even seeing his first performance as Bond.
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