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

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Comments

  • mtm wrote: »
    Listening to it, yeah, I'm not really getting the David Arnold comparisons.

    'Matera' is the only one that sounds Arnold-ish to me, because it's doing that sort of slightly bland 'pretty, lush music' thing and almost sounds like a rework of the Venice arrival music from CR (you can really feel them temp tracking this sequence with that music), which itself was the closest Arnold got to a Barry homage. Other than that, yeah; I'm not getting Arnold comparisons.
    One of the tracks (I forget which) actually ends on a very Barry-style single, held, resolving note though. I haven't heard that in a while! :)

    I think I can feel that this score is really designed to work with the film, which sounds obvious(!), but for me this really does feel like half the experience and I didn't massively enjoy listening. Other than the Eilish track being peppered through (and I do think that's brilliant: I can imagine her fans loving this movie for that and that can't be a bad thing) there's nothing massively thematic going on here. It's very energetic and bombastic though, and that's what Bond needs so that's all good.
    I'm surprised at all the praise considering that Newman's score got criticised for not featured the Bond theme enough, and as far as I can tell there's possibly even less of it here.
    CJB007FR wrote: »
    Full album AAC 96kHz will erase my link tonight...
    Enjoy

    https://we.tl/t-ZHEXHy7i9a

    Hi Laurent! Many thanks :)

    That's quite a relief to hear. David Arnold summed it up well when he suggested that the Bond theme works best when it's used sparingly for big, appropriate moments.
  • FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

  • ContrabandContraband Sweden
    Posts: 3,018
    mtm wrote: »
    Contraband wrote: »

    That's very cool (although I think wrong thread! :) ) - but pity the owners of 42 Roupell Street who will forever now have Bond fans knocking on their door and taking photos on their doorstep! :D

    Ah sorry, my bad. Thanks @mtm
  • edited September 2021 Posts: 3,333
    Minion wrote: »
    I think the idea is, “Don’t plant any seeds of what might be true in case someone who hasn’t considered those ideas doesn’t want to know them.” In the past when I’ve read fake spoilers, they still managed to dominate my imagination while watching or playing whatever and diminished the experience.
    Sounds more like communism than having a fan theory @Minion. May I make a suggestion? If reading anything about a movie (however erroneous) impacts your overall enjoyment of said movie, stay well clear of movie sites and fan forums until you've seen the movie in its entirety. I only suggest this if you're looking for that totally immersed and fullfilling experience. It's all about self-discipline.
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    bondsum wrote: »
    matt_u wrote: »
    Regarding your assumptions, here's a (confirmed) spoilerish reply.
    You know why that post was unexpectedly spoilerish? Because Bond will indeed have a daughter in this film, named Mathilde, and we know that since more than a year. Tabloids know that too. The "Home" track is when he finds out at Swann's cabin.
    Then it looks like my assumptions "could" be well be proven correct. I don't read tabloid trash so can't confirm either way if any of it's 100% true or not. Besides, there's a lot of guff written in the tabloids that just isn't factual. I was only going off the early casting of a child actor and the possibility that she could be Bond's daughter and not a young Madeleine Swann as some here were lead to believe. Lastly, I haven't been visiting this site for the past year due to NTTD's long hiatus and lack of anything to say, so I have no idea what's been discussed and what's not. Though it appears in my absence, there's been a bit of coup and a consensus on what's allowed to be discussed and what's not. I'm just glad Creasy was here to set the record straight on the major differences between fan theories and real spoilers. Sometimes a fan theory can be right even without knowing the full facts.
    It's confirmed, it's not tabloid trash. Mathilde's character is 5 years old and Matera's honeymoon night takes place 5 years before the main plot. The film ends in South of Italy where Swann drives the V8 with Mathilde on her side, "telling her a story", thanks to some call sheets of the film that leaked online. Craig said the main theme of the film is "family". He's gonna be a father in this one. So your fan theory is gonna be right. Anyway, no need to justify.
  • edited September 2021 Posts: 3,333
    matt_u wrote: »
    It's confirmed, it's not tabloid trash. Mathilde's character is 5 years old and Matera's honeymoon night takes place 5 years before the main plot. The film ends in South of Italy where Swann drives the V8 with Mathilde on her side, "telling her a story", thanks to some call sheets of the film that leaked online. Craig said the main theme of the film is "family". He's gonna be a father in this one. So your fan theory is gonna be right. Anyway, no need to justify.
    Okay, cheers @matt_u. Thanks for the insight.
  • Posts: 511
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

    I would prefer if Bond got to live out with happiness and peace, but I will say it's not "killing off a cash cow" — as it's pretty clear each actor will exist, going forward, within their own bubble of sorts.

  • edited September 2021 Posts: 3,279
    Been listening to it on my iPod, sounds great. Much better than the past 2 Newman scores. We are back in familiar Arnold/Barry territory again thankfully. The Newman era is now just a bad memory.

    And with Babs confirming the return of adapted Fleming scenes (one which is now 99% confirmed due to the name of a certain track off the album), I have my Bond back!

  • Posts: 3,333
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.
    Sounds totally logical to me. I concur. Very good "fan theory" @jetsetwilly.
  • bondsum wrote: »
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.
    Sounds totally logical to me. I concur. Very good "fan theory" @jetsetwilly.

    And not a dreaded `Spoiler' in sight... ;)
  • Posts: 3,333
    And not a dreaded `Spoiler' in sight... ;)
    I don't know how you managed it. You must teach me the craft. :-SS
  • MinionMinion Don't Hassle the Bond
    edited September 2021 Posts: 1,165
    bondsum wrote: »
    Minion wrote: »
    I think the idea is, “Don’t plant any seeds of what might be true in case someone who hasn’t considered those ideas doesn’t want to know them.” In the past when I’ve read fake spoilers, they still managed to dominate my imagination while watching or playing whatever and diminished the experience.
    Sounds more like communism than having a fan theory @Minion. May I make a suggestion? If reading anything about a movie (however erroneous) impacts your overall enjoyment of said movie, stay well clear of movie sites and fan forums until you've seen the movie in its entirety. I only suggest this if you're looking for that totally immersed and fullfilling experience. It's all about self-discipline.
    If showing common courtesy by tagging your posts with a spoiler tag is a inch too far for you to go, that speaks more to your selfishness than anything else @bondsum. No one is suppressing your right to post, simply asking for a modicum of decorum in your attitude.
  • edited September 2021 Posts: 490
    quote="BMB007;c-1213360"]
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

    I would prefer if Bond got to live out with happiness and peace, but I will say it's not "killing off a cash cow" — as it's pretty clear each actor will exist, going forward, within their own bubble of sorts.

    [/quote]

    I just don’t see how they could market this to casual audiences next time, even if it would give NTTD quite a dramatic punch.
  • edited September 2021 Posts: 511
    ertert wrote: »
    BMB007 wrote: »
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

    I would prefer if Bond got to live out with happiness and peace, but I will say it's not "killing off a cash cow" — as it's pretty clear each actor will exist, going forward, within their own bubble of sorts.

    I just don’t see how they could market this to casual audiences next time, even if it would give NTTD quite a dramatic punch.

    People understand that there's different Batman or Spider-Man actors. Especially with (likely) 4-5 years before the next James Bond film. Helps that they've pushed marketing of NTTD as an "end".
  • Posts: 490
    BMB007 wrote: »
    ertert wrote: »
    BMB007 wrote: »
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

    I would prefer if Bond got to live out with happiness and peace, but I will say it's not "killing off a cash cow" — as it's pretty clear each actor will exist, going forward, within their own bubble of sorts.

    I just don’t see how they could market this to casual audiences next time, even if it would give NTTD quite a dramatic punch.

    People understand that there's different Batman or Spider-Man actors. Especially with (likely) 4-5 years before the next James Bond film. Helps that they've pushed marketing of NTTD as an "end".

    Fair point. Yikes I hope it isn’t that long but they do seem to move at a glacier’s pace. It really sucks. Quality of quantity though but 5 years in between films is ridiculous.
  • Posts: 511
    ertert wrote: »
    BMB007 wrote: »
    ertert wrote: »
    BMB007 wrote: »
    FoxRox wrote: »
    I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.

    I had another friend of mine say the same thing today, someone who works in the industry. He is 100% convinced they will kill off Bond at the end of this.

    I cannot see that happening to a lucrative 50 year old franchise that continues to make money. You don't kill off a cash cow when it pays off with every new film, so I cannot see Babs and co. wanting to do this with a family legacy.

    This is why I think the ending to YOLT makes most sense, if they want a dramatic ending to wrap the Craig era. This will bring some closure, and keeps faithful to Fleming's vision.

    I would prefer if Bond got to live out with happiness and peace, but I will say it's not "killing off a cash cow" — as it's pretty clear each actor will exist, going forward, within their own bubble of sorts.

    I just don’t see how they could market this to casual audiences next time, even if it would give NTTD quite a dramatic punch.

    People understand that there's different Batman or Spider-Man actors. Especially with (likely) 4-5 years before the next James Bond film. Helps that they've pushed marketing of NTTD as an "end".

    Fair point. Yikes I hope it isn’t that long but they do seem to move at a glacier’s pace. It really sucks. Quality of quantity though but 5 years in between films is ridiculous.

    Well even then, the past two actor handovers have had long gaps (LTK/GE 6 years, DAD/CR 4). Granted, varying circumstances enhanced those — but it sort of makes sense why it takes so long. Can't mess up casting a new one, plus you have to develop a new aesthetic/tone for it.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,261
    Disagree with the examples of TND, DAD, and QOS. Arnold scored TND using "Surrender" as a prominent theme in the film with the understanding and intention that "Surrender" would be the title song. I seriously doubt Arnold would have had any time to incorporate Crow's song into his score. The schedule of that film was rushed enough as it was, and the same would have happened had Barry been composing.

    Similar case with DAD. Arnold did intend the main theme of his score to feature in the title song as well: "I Will Return." I don't have the source or the exact wording on me right now, but I recall him being asked at one point about why he didn't put Madonna's electro-pop into his score, and he gave a good-natured but sarcastic reply along the lines of, "Seriously?" They did replace Arnold's party music (which really was the better choice of the two) with a remix of Madonna's "Die Another Day."

    And Arnold amazingly did weave "Another Way to Die" into the score for QOS. As with his interpolations of the Bond theme, it's subtle but it's there. Could it have been more obvious or more in-your-face? Sure, but that wasn't really the nature of that particular score.

    The TND soudtrack CD that came out along with the theatrical release only featured two thirds of Arnold's score, because they had to rush to bring the movie into the theatres. In 2000, Arnold released the fulll score of TND on CD. And MGM inisted on Sheryl Crow to write and perform the song. And what should Arnold have done with this atrocious song of Madonna? If an artist not as famous as Madonna would have dared to do a Bond song the way she did, she would have been kicked out. Eri Serra didn't bother to interpole the GE song in his GE score. And why should he? He did not compose it.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,261
    OOWolf wrote: »
    I'm really hoping that Zimmer's score will be melodic. He often seems to focus on sound designing and audio collages, so it'd be nice to get some memorable cues. David Arnold was indeed the last Bond composer to write music that worked for the respective films. Thomas Newman's scores on the other hand could have worked for any modern action/thriller -boring.

    To be completely honest, no one has come close to Barry. There is not a single John Barry Bond score that isn't replete of personality. His scores never seemed to take themselves too seriously, yet always provided a sense of excitement and urgency. More than anything, the cues were MEMORABLE! Always! I often have '007 and Counting' looping in my head or 'Capsule In Space' or 'Ice Chase'... To me, every Barry cue is as catchy as a good pop song. That's what I want from a Bond score!

    True, but Barry died ten years ago and had not composed a Bond movie after TLD.
  • edited September 2021 Posts: 1,314
    Tracks 10 and 11 are going to have people smiling from ear to ear. However it’s more because of the works of John Barry and Monty Norman than Hans Zimmer. It’s chock full of the 3 note vamp

    Track 02 matera is truly excellent

    It’s a good soundtrack. With far far more of a bond feel and sinister atmosphere than anything in the last few. A lot of it is either meditative soundscapes or something like the cast of Stomp though. Nothing approaching “journey to blofelds hideaway” in terms of musicality and melody, or the Miami cue from Goldfinger in terms of jazz and swing.

    I do like it though.

  • edited September 2021 Posts: 1,215
    I think there is a certain respect for John Barry in this score, but not necessarily in the sense that it sounds like Barry (outside of the 2 actual John Barry pieces in this) but moreso Zimmer’s interpretation of Barry. There’s the melody and romanticism, but it’s Zimmer’s style of melody and romanticism. There’s the enormous horns, but they’re Zimmer style horns, there’s the slick Bond guitar, but again, it sounds like Zimmer’s slick Inception guitar bits moreso than the twangy Barry sound. Running through it all though is that trademark Zimmer almost sound design like electronic touch that is quite aggressive and menacing in this score. I think Zimmer doing Bond in his language has given a really unique and distinct sound to this one. It’s trademark Zimmer but also doesn’t sound super “Zimmery” like his work with Nolan/DCEU. It’s very Bondian yet sounds very different from the past Bond scores.

    On another note, I’ve always found the sentiment that a Bond score needs to be built around “a melody you can hum” in order to be adequate to be kind of silly and here we quite literally have Billie humming the melody in the score!
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    I think there is a certain respect for John Barry in this score, but not necessarily in the sense that it sounds like Barry (outside of the 2 actual John Barry pieces in this) but moreso Zimmer’s interpretation of Barry. There’s the melody and romanticism, but it’s Zimmer’s style of melody and romanticism. There’s the enormous horns, but they’re Zimmer style horns, there’s the slick Bond guitar, but again, it sounds like Zimmer’s slick Inception guitar bits moreso than the twangy Barry sound. Running through it all though is that trademark Zimmer almost sound design like electronic touch that is quite aggressive and menacing in this score. I think Zimmer doing Bond in his language has given a really unique and distinct sound to this one. It’s trademark Zimmer but also doesn’t sound super “Zimmery” like his work with Nolan/DCEU. It’s very Bondian yet sounds very different from the past Bond scores.

    Exactly. +1!

    And Final Ascent is one of his best pieces. I mean, ever.
  • I think there is a certain respect for John Barry in this score, but not necessarily in the sense that it sounds like Barry (outside of the 2 actual John Barry pieces in this) but moreso Zimmer’s interpretation of Barry. There’s the melody and romanticism, but it’s Zimmer’s style of melody and romanticism. There’s the enormous horns, but they’re Zimmer style horns, there’s the slick Bond guitar, but again, it sounds like Zimmer’s slick Inception guitar bits moreso than the twangy Barry sound. Running through it all though is that trademark Zimmer almost sound design like electronic touch that is quite aggressive and menacing in this score. I think Zimmer doing Bond in his language has given a really unique and distinct sound to this one. It’s trademark Zimmer but also doesn’t sound super “Zimmery” like his work with Nolan/DCEU. It’s very Bondian yet sounds very different from the past Bond scores.

    On another note, I’ve always found the sentiment that a Bond score needs to be built around “a melody you can hum” in order to be adequate and here we quite literally have Billie humming the melody in the score!

    What a great and detailed critique! Roll on October 1st. Can't wait to hear this!
  • With some late night soy work I’ve managed to sort 11 tracks into mp3. I shall work in the rest tonight. Not sure what I will do with them afterwards.

    210346-BB-22-CF-4-F56-88-EB-B7-C929-AC1-FFE.png

    Ya’ll never saw my post this morning?

    I’ve edited 11 of the 21 tracks into MP3 format, that’s my iTunes in the screen grab.

    I’m going to edit the remainder tonight.

    After that I juts need a good place to put said MP3’s for folks to enjoy….

  • With some late night soy work I’ve managed to sort 11 tracks into mp3. I shall work in the rest tonight. Not sure what I will do with them afterwards.

    210346-BB-22-CF-4-F56-88-EB-B7-C929-AC1-FFE.png

    Ya’ll never saw my post this morning?

    I’ve edited 11 of the 21 tracks into MP3 format, that’s my iTunes in the screen grab.

    I’m going to edit the remainder tonight.

    After that I juts need a good place to put said MP3’s for folks to enjoy….

    Wow! I do apologise. That must have taken an awfully long time. It's very kind of you to go to such lengths for people to enjoy it.
  • edited September 2021 Posts: 511
    I think there is a certain respect for John Barry in this score, but not necessarily in the sense that it sounds like Barry (outside of the 2 actual John Barry pieces in this) but moreso Zimmer’s interpretation of Barry. There’s the melody and romanticism, but it’s Zimmer’s style of melody and romanticism. There’s the enormous horns, but they’re Zimmer style horns, there’s the slick Bond guitar, but again, it sounds like Zimmer’s slick Inception guitar bits moreso than the twangy Barry sound. Running through it all though is that trademark Zimmer almost sound design like electronic touch that is quite aggressive and menacing in this score. I think Zimmer doing Bond in his language has given a really unique and distinct sound to this one. It’s trademark Zimmer but also doesn’t sound super “Zimmery” like his work with Nolan/DCEU. It’s very Bondian yet sounds very different from the past Bond scores.

    On another note, I’ve always found the sentiment that a Bond score needs to be built around “a melody you can hum” in order to be adequate to be kind of silly and here we quite literally have Billie humming the melody in the score!

    Tremendous post. I'm glad it doesn't sound like "Bond via Zimmer" but "Zimmer via Bond". I was worried it'd be paint by numbers; that it would lack a Zimmer sound. Thankful, I was wrong. The guitars especially — as you say — are quite reminiscent of "Inception". To me, "Final Ascent" and "Time" are really similar (in a good way). Cannot wait to sink my teeth deeper into it.
  • DCisaredDCisared Liverpool
    Posts: 1,329
    With some late night soy work I’ve managed to sort 11 tracks into mp3. I shall work in the rest tonight. Not sure what I will do with them afterwards.

    210346-BB-22-CF-4-F56-88-EB-B7-C929-AC1-FFE.png

    Ya’ll never saw my post this morning?

    I’ve edited 11 of the 21 tracks into MP3 format, that’s my iTunes in the screen grab.

    I’m going to edit the remainder tonight.

    After that I juts need a good place to put said MP3’s for folks to enjoy….

    Lovely stuff
  • edited September 2021 Posts: 65
    Ryan1991 wrote: »
    With some late night soy work I’ve managed to sort 11 tracks into mp3. I shall work in the rest tonight. Not sure what I will do with them afterwards.

    210346-BB-22-CF-4-F56-88-EB-B7-C929-AC1-FFE.png

    Ya’ll never saw my post this morning?

    I’ve edited 11 of the 21 tracks into MP3 format, that’s my iTunes in the screen grab.

    I’m going to edit the remainder tonight.

    After that I juts need a good place to put said MP3’s for folks to enjoy….

    Wow! I do apologise. That must have taken an awfully long time. It's very kind of you to go to such lengths for people to enjoy it.

    Not at all.

    Yes took a fair few hours. Will
    Be working on the other tracks later.

    Google drive might be a good destination?

  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    edited September 2021 Posts: 10,588
    As this forum doesn’t normally host leaks, it would be appreciated and encouraged if members could keep or share any links via private messages rather than on threads. Thank you in advance.
  • mtmmtm United Kingdom
    edited September 2021 Posts: 14,913
    On another note, I’ve always found the sentiment that a Bond score needs to be built around “a melody you can hum” in order to be adequate to be kind of silly and here we quite literally have Billie humming the melody in the score!

    Well maybe, but then people have been criticising Newman for not having hummable melodies (which I don't think is true, but anyway) and yet this very melody-free score is getting the big thumbs-up. A bit of me wonders if folks will start criticising this score in the same way in a year or two. There's no big, full statements of the Bond theme in the action bits either, another complaint with Newman.
    Ryan1991 wrote: »
    With some late night soy work I’ve managed to sort 11 tracks into mp3. I shall work in the rest tonight. Not sure what I will do with them afterwards.

    210346-BB-22-CF-4-F56-88-EB-B7-C929-AC1-FFE.png

    Ya’ll never saw my post this morning?

    I’ve edited 11 of the 21 tracks into MP3 format, that’s my iTunes in the screen grab.

    I’m going to edit the remainder tonight.

    After that I juts need a good place to put said MP3’s for folks to enjoy….

    Wow! I do apologise. That must have taken an awfully long time. It's very kind of you to go to such lengths for people to enjoy it.

    Not at all.

    Yes took a fair few hours. Will
    Be working on the other tracks later.

    Google drive might be a good destination?

    I downloaded Laurent's version which he shared earlier in the thread- much appreciated, Laurent.
    ^:)^
  • Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.
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