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As someone who is (definitively) obsessed with Bond music, specifically Barry's and Arnold's, and who has also become a major fan of Zimmer -- this is just all the best parts of all my favorite worlds colliding.
I've been front row for Hans' work across the last decade, taking so many of my other favourite characters on new and iconic musical journeys (Batman, Superman, Inception, Interstellar, Gladiator, Pirates, and more). To have him give me this absolute gift of a Bond score just feels...gah, emotional. It's like the completion of a journey for me as well with the best possible (and natural) payoff.
I can't say it enough. Bravo. It's everything I could want from a Bond score.
(And a little bit, literally, what I want from a Batman one). :D :D :D
I agree. The only memorable parts where the OHMSS cues.
I'm really surprised, as I am a big fan of Zimmer's work, particularly on the TDK trilogy and Inception (Time is a truly remarkable piece of music). I kind of feel like he went away from his recent style a bit to try and ape John Barry.
I love John Barry's work, he's one of the all time great composers but Hans would have been better to stick with what has brought him to the dance. This score is unfortunately neither fish, nor fowl.
+1. And I really liked Newman's scores - especially Skyfall, which I'd go as far as saying I loved. But they just lacked the impact, the satiation, and the consistently confident Bondness that Zimmer's work has. Love it.
Agree with everything you just said!
Cool! But don't pull the volume up to full when you start listening to it, I just nearly had a heart attack.
Agreed. I expected much better from Zimmer. I own a huge amount of his scores. At worst it all sounds generic. I think Newman's Skyfall score is far superior to this. It's also It's own thing.
Would be interesting if they ask Zimmer back and he has more development time to flesh out a wholly original score.
Nice thank you, hope we get more tracks from the unreleased stuff
Holy sh*t, thanks for the warning
That scene is so incredible. I'm surprised it was that long! (5:08). Feels more like 3 minutes watching it in the cinema. And as unorthodox and ambient as this track is, it's absolutely gripping.
Before hearing the score and having read the early reviews on the forum, I was really expecting a “Barry” score. I’d say if anything it’s closer to an ‘Arnold’ score. The only “Barry” I get from the score are the cues he’s used from OHMSS.
Overall it’s a Zimmer score, which is an incredible score, much better than I anticipated. It’s a shame that the ending (no spoilers) uses almost recycled material from other Zimmer scores (‘Time’ from ‘Inception’ springs to mind and could almost be slotted in to the last scene) rather than something more Bond-like.
Bearing in mind that Zimmer & Co were only brought in to the project very late to re-score the film, they’ve done a really great job and stands out as the best score since CR in my opinion.
I hope that if Zimmer returns to score Bond 26, coming in to the project early on, we will get an even more Bond-like suitable score.
Ps. I’d love to hear a demo of what Dan Romer had in mind for the film, just to get a feel of the direction he was taking it. This will likely never happen though and I imagine much is deleted or hidden away on Dan’s personal hard drive never to be reopened. :(
The more I think about it the more I'm disappointed with the reuse of OHMSS theme.
It's well done, especially the slowed rendition, but it feels out of place and takes me out of those scenes in NTTD.
Zimmer and Mazzaro are talented guys surely they could come up with something more original?
IMO it reflects her character far better than WHATTITW.
But then, hearing them in the film, my instincts were "Oh this just doesn't feel right." The use of the song title in dialogue more than once also caused a groan for me, but that's another matter.
I did love Madeleine's theme from SP, too. It had a wispy, lonely quality to it that fit the character.
I agree completely.
The only other piece of music I could picture for Madeline, is the beautiful piano during Secret Room on the Spectre soundtrack
The cue that starts at 0.51 should have been Madeline's equivalent to Vesper's theme
My OST rankings for Craig's films -
1. Casino Royale
2. Quantum of Solace
3. No Time To Die
I know theres a lot more things to be discussing/debating about NTTD
But reusing WHATTITW in the film just didnt feel right for me either!
When I do my annual Christmas watch of OHMSS this year, and that music appears, I will be distracted by its use in NTTD!
Even Arnold, the biggest fan of Barry going, didnt dare touch the master’s actual work, beyond the Bond theme itself.
Depending on your view, its either a great homage to the best music in the series, or a cheap and lazy way of wringing an emotional response out of a scene by recalling memories of a previous film and characters, and not the characters in this one.
I can understand how some people would be turned off with the OHMSS bits though. Keep them to the masterpiece only you know. The best part is, they still hold up on screen after all these years though. That's the sign of a true musical genius in John Barry. Timeless music.
No hugely memorable moments music-wise though I'd say, apart from probably Final Ascent's appearance where it takes over the whole sound mix.
Tend to agree: Zimmer seems very much guilty of the same 'crimes' (no full versions of the Bond theme, reused themes, barely any title song, action cues very reliant on rhythms rather than melody etc. etc.) and yet gets a free pass.
I don't actually regard any of those as huge crimes so I think this is a decent enough score. I don't think it's one I'll ever love. For me I prefer Newman's scores in general: a touch more thematic and lush, but Zimmer's action stuff is better and it's not a bad score by any means.
You know I think I've never noticed that missing verse. The cuts to the GoldenEye and Skyfall songs are the ones I always noticed more.