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

15758606263151

Comments

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,009
    This means that Hans Zimmer is doing the soundtrack to 4 major 2020 films: No Time To Die, Dune, Wonder Woman 1984 and Top Gun: Maverick.

    Hiring a guy who is busy doing 3 other films and not hiring David Arnold, probably means Arnold is finished with Bond for good.

    I sincerely hope so.

    I was hoping Arnold would return at some point, but after what just happened, I think that ship has sailed.

    I'm sure he will at some point in the future.

    If they wanted him back, this was the perfect opportunity. That's why I think they don't want him anymore.

    I don't think it's as cut and dry as that, personally (these things rarely are) but I really don't wish to get into another debate about it. We've got number of composers working on NTTD now. We'll see how it goes.
  • This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments

    [In respect to why Zimmer isn't scoring Tenet] Because as I said, Tenet was never about scheduling conflict...

    And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,009
    This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments

    [In respect to why Zimmer isn't scoring Tenet] Because as I said, Tenet was never about scheduling conflict...

    And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

    So, why did he not take on "Tenet"? Was it because of the rough time had on "Dunkirk"?
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,261
    bondbat007 wrote: »
    Has Zimmer ever worked on anything that he had to adapt music he didn't personally come up with? Or will the Bond theme be the first of that kind for him? Either way, I'm excited for his take!

    If I am not completely mistaken, he did incorporate Lalo Schifrin's "M:I" theme in his score of, well, "M:I 2".
  • bondbat007 wrote: »
    Has Zimmer ever worked on anything that he had to adapt music he didn't personally come up with? Or will the Bond theme be the first of that kind for him? Either way, I'm excited for his take!

    If I am not completely mistaken, he did incorporate Lalo Schifrin's "M:I" theme in his score of, well, "M:I 2".

    Yes, he did. He used Schifrin's M:I theme quite a bit in M:I 2. I'm not necessarily the world's biggest Hans Zimmer fan (his music all seems a bit same-y to me) but his score for M:I 2 is one of the few highlights of a dreadful film, and it gives me hope that his take on Bond will have some verve and kick to it.
  • SuperintendentSuperintendent A separate pool. For sharks, no less.
    Posts: 870
    This means that Hans Zimmer is doing the soundtrack to 4 major 2020 films: No Time To Die, Dune, Wonder Woman 1984 and Top Gun: Maverick.

    Hiring a guy who is busy doing 3 other films and not hiring David Arnold, probably means Arnold is finished with Bond for good.

    I sincerely hope so.

    I was hoping Arnold would return at some point, but after what just happened, I think that ship has sailed.

    I'm sure he will at some point in the future.

    If they wanted him back, this was the perfect opportunity. That's why I think they don't want him anymore.

    I don't think it's as cut and dry as that, personally (these things rarely are).

    I hope you're right. At this point, it looks to me they've moved on.

    We've got number of composers working on NTTD now. We'll see how it goes.

    Are there any notable examples of this?
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    bondbat007 wrote: »
    Has Zimmer ever worked on anything that he had to adapt music he didn't personally come up with? Or will the Bond theme be the first of that kind for him? Either way, I'm excited for his take!

    If I am not completely mistaken, he did incorporate Lalo Schifrin's "M:I" theme in his score of, well, "M:I 2".

    Indeed...he did. He used it sparingly throughout the first half of the film. But used it fully during the Bike chase.
  • DrClatterhandDrClatterhand United Kingdom
    Posts: 349
    We might have Johnny Marr playing the James Bond theme on this score. How cool is that?
  • zerozerozerozero The far far east
    edited January 2020 Posts: 58
    I'm intrigued to see what Hans Zimmer (and co.) might come up with. I keep thinking about that dream-within-a-dream-within-another-dream scene in Inception (and the OHMSS-like setting for parts of it) and am optimistic that No Time to Die will have a recognisable thread to it. I'm certainly relieved Dan Romer is off the project - that, I wasn't enthusiastic about at all.

    As for Thomas Newman's work on the last two, whilst I can see what his detractors mean but, somehow or other, the dark and even bleak tone in portions of Skyfall and SPECTRE have been forever anchored in my mind by TN's score. The London aerial shot in SPECTRE when things are at their worst with "C" and his abolition of the 00 Section, for instance. That's a key moment. Just a phrase or two but it sets the mood at that point in the film.

    It's been a long time since we had anything in the class of John Barry but one can't dwell in the past. And David Arnold, despite my initially finding his scores a bit cluttered with unnecessary layers of percussion, did produce some sterling, and underrated, themes.

    So, I'm hopeful that this new film will be a real corker with a score that really stirs the blood.
  • DeerAtTheGatesDeerAtTheGates Belgium
    Posts: 524
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,009
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.

    Nice breakdown, @DeerAtTheGates
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments

    [In respect to why Zimmer isn't scoring Tenet] Because as I said, Tenet was never about scheduling conflict...

    And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

    So, why did he not take on "Tenet"? Was it because of the rough time had on "Dunkirk"?

    Well I know that Nolan wasn't 100% happy with the way Zimmer approached Dunkirk, perhaps because he's now more of a music industry deus ex machina. :D Not speaking about the final result. Plus, filmmakers taking a break with long time collaborators is a fact of life. Just think of Pfister, now changed with Hoytema as the current DoP of the last two Nolan films.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    We might have Johnny Marr playing the James Bond theme on this score. How cool is that?

    Very, but where do you have this from?
  • RyanRyan Canada
    Posts: 692
    We might have Johnny Marr playing the James Bond theme on this score. How cool is that?

    Very, but where do you have this from?

    I think he's just referring to Zimmer and Marr having a history of performing together which, in theory, opens up the possibility of Marr contributing to the score.
  • SuperintendentSuperintendent A separate pool. For sharks, no less.
    Posts: 870
    So, Zimmer always works with a team? He is never the sole author of the score?
  • Posts: 4,599
    The only thing I can add re Zimmer is that IMHO, when he gets it right, he gets it very right (if that makes sense?)


  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.

    Excellent post. If this is true, then I'll change my mind about Zimmer doing the score. Hopefully this means the title song will be woven into the score and some themes from previous movies (namely Vesper's and Madeleine's) will carry over.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,009
    Walecs wrote: »
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.

    Excellent post. If this is true, then I'll change my mind about Zimmer doing the score. Hopefully this means the title song will be woven into the score and some themes from previous movies (namely Vesper's and Madeleine's) will carry over.

    I would be extremely surprised if this ends up being the case.
  • Posts: 15,785
    I'm more curious now than ever as to what Romer's score was sounding like.

    "Creative differences" implies to me, on first assumption that perhaps Romer's work wasn't deemed Bondian enough. Who knows? Perhaps Eon was avoiding Eric Serra Part II, or a Michel Legrand equivalent for the official series?

    Zimmer is certainly a popular well in demand composer these days, and I'm excited for what he may come up with.
  • DeerAtTheGatesDeerAtTheGates Belgium
    edited January 2020 Posts: 524
    Walecs wrote: »
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.

    Excellent post. If this is true, then I'll change my mind about Zimmer doing the score. Hopefully this means the title song will be woven into the score and some themes from previous movies (namely Vesper's and Madeleine's) will carry over.

    One can only dream. ;) What we know for sure it that the producers *demanded* that the Bond theme and at least one instance of the title song melody were featured in both SF and SP. I don't think this will change for NTTD. (In fact, that might be a factor in the sacking of Romer)
    But just how much of both will be used, that's completely open.
    As I explained, I think Zimmer's track record gives recurring themes a higher probability than if Romer stayed on, but it's just that: a probability, not a certainty. Just like if Arnold came back, you'd have a higher probability of hearing the Vesper theme because he wrote it and used it again in QoS.

    @ToTheRight, I don't think you need to go back to Serra to find creative differences: the fact that Newman really didn't want to use the instrumental versions of SF and WOTW, but kinda was told by the producers he had to and then asked someone else to do it for him because he couldn't be bothered is a minor creative difference, IMO.
    But Newman caved in to BB's and MGW's request. I suspect Romer didn't want to change his style and 'got the boot', so to speak.
  • talos7talos7 New Orleans
    Posts: 7,891
    Virtually every composer has had a score rejected, that includes Barry, Goldsmith, North and many more. It’s part of the creative process.
  • Posts: 3,160
    Zimmer is almost the anti-Newman.
    If I didn't know who scored this, my guess would be Zimmer, especially after the drums kick in:
  • j_w_pepperj_w_pepper Born on the bayou. I can still hear my old hound dog barkin'.
    Posts: 8,657
    In my opinion, Hans Zimmer has never written anything memorable. Maybe some of the cues for The Lion King. But other than that, my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software, often enough plagiarising himself. No thanks. Anybody else would be more welcome.
  • RoadphillRoadphill United Kingdom
    Posts: 984
    I'm really in rather two minds about Zimmer.
    His scores tend to veer from Superb, to average at best. I just hope he puts a little bit of the vintage Bond sound back in. I have sorely missed that in the last couple of films.

  • DrClatterhandDrClatterhand United Kingdom
    Posts: 349
    Ryan wrote: »
    We might have Johnny Marr playing the James Bond theme on this score. How cool is that?

    Very, but where do you have this from?

    I think he's just referring to Zimmer and Marr having a history of performing together which, in theory, opens up the possibility of Marr contributing to the score.

    Correct!!
  • DeerAtTheGatesDeerAtTheGates Belgium
    edited January 2020 Posts: 524
    Zekidk wrote: »
    Zimmer is almost the anti-Newman.
    If I didn't know who scored this, my guess would be Zimmer, especially after the drums kick in:

    I meant in way of working, approaching a score, as my post explains. ;)
    But in terms of musical styles and soundscape, they can be similar, sure.
  • Posts: 3,273
    So... Hans Zimmer. I'm a bit ecstatic and a bit shocked, to be honest.

    But I'm very, very curious to see how he will approach Bond. Not because of any other scores he's done in the past. Because they're hit-and-miss for me. So I won't compare his previous music and say what I'd like.

    No, I'm curious to see how it will sound because of the way Zimmer works. Because Zimmer is almost the anti-Newman.

    Let me explain: Newman scores scene-by-scene. He looks at a film scene (or the dailies or maybe even the script when he starts early) and tries to come up with a sound that works well with what you see on screen, with melodies that work in the context of that scene. Skyfall is laced with this: the Istanbul scenes in the PTS work and gel with the music. The Shanghai score is more electronic based, but works to give the correct vibe when Bond arrives in a world of neon light. And the Tennyson scene with M reading and Bond running around London has some really emotional score, almost breathtaking.
    And to me, that's why the same music doesn't work in Spectre: you can't lift those pieces of score written for these scenes and put them in a different context in another film. It doesn't work. Newman wrote new music for the Mexico scenes in the beginning (long take - rooftops) and when Bond drives through the Vatican, I get goosebumps again. Those choirs work. What doesn't work is the SF score during fight scenes.

    Onto Zimmer: his method is different. He usually writes some themes or long suites (between 5 and 10 minutes) for different characters and entities. Then his team divides those themes into pieces of track for individual scenes. That's why some of Zimmer's individual score tracks sound like filler: because they are. If a theme or a motif doesn't work for a particular scene, they often write a very atmospheric, generic piece. So Zimmer's scores might not all sound great from track to track, but the themes and suites are memorable. And his team isn't afraid to lift themes from previous films in series that Zimmer didn't compose to fill the score if they don't have much time.

    And that's why I'm excited: because we'll probably see and hear a score with themes. John Williams does it with Star Wars, and John Barry did it too. (think the Bond theme, the 007 theme, the numerous instrumental themes from the title songs woven into the score, the Mr. Wint and Mr. Kidd theme, the OHMSS theme)
    So what I'm hoping for is a film with a good main theme for the villain, the Bond theme used in a way that is appropriate (meaning: not just 3 bars in one scene, but the whole thing), and maybe even some reused themes from other composers.

    Also: as Zimmer has been brought on at a later stadium than Newman was, might the title song be already done, in terms of melody? If that's the case, I think that the song might be used as a motif more than it was in the previous films, which I'd love.

    Great post! This is exactly what we need for a Bond soundtrack - lots of themes, and not moody Newman atmos crap.

    Now Zimmer, do the right thing and give us a modern day 007 theme too, and everyone will be doing cartwheels in the aisles.
  • All I ask from Zimmer is to bring back Barry’s “007 theme”!!!!!!!!!!!!
    If he did that I would be on cloud 9!

    Giacchino, Kramer, and Balfe have done this in the M:I films with Schifrin’s “Plot theme” from the original series. Zimmer can do the same!!! Long overdue.
  • Posts: 1,693
    j_w_pepper wrote: »
    In my opinion, Hans Zimmer has never written anything memorable. Maybe some of the cues for The Lion King. But other than that, my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software, often enough plagiarising himself. No thanks. Anybody else would be more welcome.
    Would agree with this but for Gladiator and Sherlock. I just hope he embraces the 007 sound.
  • Posts: 3,273
    j_w_pepper wrote: »
    In my opinion, Hans Zimmer has never written anything memorable. Maybe some of the cues for The Lion King. But other than that, my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software, often enough plagiarising himself. No thanks. Anybody else would be more welcome.

    Really? Days of Thunder? True Romance? Interstellar?
Sign In or Register to comment.