The Music of No Time To Die - Original Score By Hans Zimmer

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Comments

  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    Nicolas Britell is a really good composer - arguably a neater fit for Bond than Romer - an interesting choice for sure. But there is no real credible source/evidence to suggest this will happen though (tweet is also deleted)? One thing that excited me about Dan Romer (and it was the same when Daniel Craig was announced) - is that this is an unconventional choice - which usually results in (artistically speaking) having something to prove and hopefully a stronger end result.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 977
    The thing is, some people want Barry back and practically loath all other composer. But that will not happen, since the man died almost 9 years ago, and had chosen to withdraw from the franchise in 1987. Arnold maybe was the closest we could get, if it's the Barryesque style one wants to listen to. As for Romer, let's give him a fair chance, he might deliver, but he's not a reborn John Barry. No one is or will ever be.
  • mtmmtm United Kingdom
    Posts: 4,857
    The thing is, some people want Barry back and practically loath all other composer. But that will not happen, since the man died almost 9 years ago, and had chosen to withdraw from the franchise in 1987. Arnold maybe was the closest we could get, if it's the Barryesque style one wants to listen to. As for Romer, let's give him a fair chance, he might deliver, but he's not a reborn John Barry. No one is or will ever be.

    YeahI quite enjoyed how Newman rethought the Bond style: keeping the sort of richness and depth that Bond should have but not trying to ape Barry directly (all of the time- the romantic themes maybe leant towards that style a little more). Hopefully that's what future composers will do.
  • talos7talos7 New Orleans
    Posts: 5,470
    Like Newman’s Skyfall score but think it would have benefited from 10 to 15 percent more “ Barry” and more inclusion of the title track.
  • More inclusion of the title track I would have welcomed, but I don't need more faux Barry. David Arnold already gave that in abundance.
  • I want something resembling the Bond sound, period.
  • Posts: 5,767
    The thing is, some people want Barry back and practically loath all other composer. But that will not happen, since the man died almost 9 years ago, and had chosen to withdraw from the franchise in 1987. Arnold maybe was the closest we could get, if it's the Barryesque style one wants to listen to. As for Romer, let's give him a fair chance, he might deliver, but he's not a reborn John Barry. No one is or will ever be.
    I was just going to argue that it has to do with much more than Barry´s uniqueness, when I read the posts following yours :-)).
  • talos7talos7 New Orleans
    edited November 2019 Posts: 5,470
    More inclusion of the title track I would have welcomed, but I don't need more faux Barry. David Arnold already gave that in abundance.

    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.
  • Posts: 11,425
    The Succession title theme music is excellent.
  • Posts: 1,795
    I think Dan Romer is still doing the score.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    I want something resembling the Bond sound, period.

    Absolutely. I think Romer might surprise us at the end of it all. Keeping my fingers crossed he pushes himself out of his comfort zone.
  • DAMN! I've not heard of Nicolas Britell, but clip after clip I keep being impressed. Definitely a good fit for Bond...far more than Romer and his Zimmer-like soundscapes.

    As much as I know this rumer is unlikely, boy I sure wouldn't mind if it were true.
  • 00Agent00Agent Any man who drinks Dom Perignon '52 can't be all bad.
    edited November 2019 Posts: 5,145
    JamesStock wrote: »
    DAMN! I've not heard of Nicolas Britell, but clip after clip I keep being impressed. Definitely a good fit for Bond...far more than Romer and his Zimmer-like soundscapes.

    As much as I know this rumer is unlikely, boy I sure wouldn't mind if it were true.

    Yeah, i've been obsessing over Brittel all day long, listening to all his soundtracks. This guy is amazing and an infinitly better fit than Romer. In fact, i've been looking for a fitting composer for a long time, and i think he's my number 1 choice atm.

    Unfortunately it might be complete BS. I would sell a kidney to make this happen though lol
  • talos7 wrote: »
    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.
    Couldn't have said it better.

  • mtmmtm United Kingdom
    edited November 2019 Posts: 4,857
    talos7 wrote: »
    More inclusion of the title track I would have welcomed, but I don't need more faux Barry. David Arnold already gave that in abundance.

    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.

    But then Craig wears a differently tailored dinner jacket: he doesn't wear exactly the same one as Connery because that was designed in the 60s. Likewise the sound has to incorporate the feel of those old Bond films with a few of the details (like a bit of brass) but it shouldn't be exactly the same: it needs to be tailored all over again. Similar fabric perhaps, the same impression of quality, but a new suit designed to a new cut.

    And that all hangs on what we define as the 'Barry sound' anyway. Is it all twangy guitars, bongos and brass? Because even John Barry himself stopped doing that twenty years before he stopped doing Bond scores.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    talos7 wrote: »
    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.
    Couldn't have said it better.

    Not necessarily the same sound, but certainly the same structure/approach, similar to how Martin did it and what Arnold did in CR.
  • Not necessarily the same sound, but certainly the same structure/approach, similar to how Martin did it and what Arnold did in CR.
    No, we in the Bond forum speak in absolutes! It's Everything or Nothing here. ;) *sarcasm*

  • talos7talos7 New Orleans
    edited November 2019 Posts: 5,470
    mtm wrote: »
    talos7 wrote: »
    More inclusion of the title track I would have welcomed, but I don't need more faux Barry. David Arnold already gave that in abundance.

    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.

    But then Craig wears a differently tailored dinner jacket: he doesn't wear exactly the same one as Connery because that was designed in the 60s. Likewise the sound has to incorporate the feel of those old Bond films with a few of the details (like a bit of brass) but it shouldn't be exactly the same: it needs to be tailored all over again. Similar fabric perhaps, the same impression of quality, but a new suit designed to a new cut.

    And that all hangs on what we define as the 'Barry sound' anyway. Is it all twangy guitars, bongos and brass? Because even John Barry himself stopped doing that twenty years before he stopped doing Bond scores.

    True, but strip all of that away and the
    “ Bond Sound” , at its purest, was established by John Barry. Now of course throughout his tenure he played with variations, but when all is said and done, he created a timeless musical identity for the cinematic James Bond; any composer who follows, and has followed, will incorporate that musical identity.
  • mtmmtm United Kingdom
    Posts: 4,857
    talos7 wrote: »
    mtm wrote: »
    talos7 wrote: »
    More inclusion of the title track I would have welcomed, but I don't need more faux Barry. David Arnold already gave that in abundance.

    Of course not faux Barry, that misrepresents what I’m saying. John Barry created a sound that will forever be part of the cinematic character; to one degree or another, a new composer will have to incorporate Barry’s sound . That is no more faux Barry than Craig being faux Connery because he wears a tuxedo.

    But then Craig wears a differently tailored dinner jacket: he doesn't wear exactly the same one as Connery because that was designed in the 60s. Likewise the sound has to incorporate the feel of those old Bond films with a few of the details (like a bit of brass) but it shouldn't be exactly the same: it needs to be tailored all over again. Similar fabric perhaps, the same impression of quality, but a new suit designed to a new cut.

    And that all hangs on what we define as the 'Barry sound' anyway. Is it all twangy guitars, bongos and brass? Because even John Barry himself stopped doing that twenty years before he stopped doing Bond scores.

    True, but strip all of that away and the
    “ Bond Sound” , at its purest, was established by John Barry. Now of course throughout his tenure he played with variations, but when all is said and done, he created a timeless musical identity for the cinematic James Bond; any composer who follows, and has followed, will incorporate that musical identity.

    They will indeed, but for my money Newman did it right. Which isn't to say any future composers have to sound like Newman, but just that he put just the right amount of trad Barry/Bond sound in there but made it sound fresh.
  • edited November 2019 Posts: 3,267
    It’s too bad Barry didn’t do more Bonds beyond 1987, it would have been interesting to see how much his sound would have changed for Bond into the 90s and beyond. Would he have ever brought back the twangy guitars and bongos like David Arnold or just do what he did with his updated arrangement recordings like in the Moviola albums?






    The closest we got to another Bond soundtrack by him besides Moviola was for THE SPECIALIST, which I thought would have worked well when spliced into this scene in GE.






    I always thought this would at least sound great for the Monte Carlo casino sequence.


  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    Not necessarily the same sound, but certainly the same structure/approach, similar to how Martin did it and what Arnold did in CR.
    No, we in the Bond forum speak in absolutes! It's Everything or Nothing here. ;) *sarcasm*

    Do you think it's my first day, @FrankXavier? ;)
  • talos7talos7 New Orleans
    Posts: 5,470
    I absolutely love The Specialist soundtrack, it’s simmering and sexy.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    talos7 wrote: »
    I absolutely love The Specialist soundtrack, it’s simmering and sexy.

    A far better score than that film deserved.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    Not necessarily the same sound, but certainly the same structure/approach, similar to how Martin did it and what Arnold did in CR.
    No, we in the Bond forum speak in absolutes! It's Everything or Nothing here. ;) *sarcasm*

    Only a Sith deals in absolute
  • talos7talos7 New Orleans
    Posts: 5,470
    talos7 wrote: »
    I absolutely love The Specialist soundtrack, it’s simmering and sexy.

    A far better score than that film deserved.

    I agree, but it’s a guilty pleasure. 😏
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    talos7 wrote: »
    talos7 wrote: »
    I absolutely love The Specialist soundtrack, it’s simmering and sexy.

    A far better score than that film deserved.

    I agree, but it’s a guilty pleasure. 😏

    Anything with Sharon in it usually has an emphasis on the pleasure, too. ;)
  • I saw THE SPECIALIST once, but I listened to the score a number of times. Same with other movies like SUPERGIRL.
  • Posts: 641
    Has the original Tweet @Pierce2Daniel posted been deleted or something, one that referenced Britell? I don't see anything on the MI6 forum post, or anything on a Twitter search. Is he rumored to be taking over?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,638
    AgentM72 wrote: »
    Has the original Tweet @Pierce2Daniel posted been deleted or something, one that referenced Britell? I don't see anything on the MI6 forum post, or anything on a Twitter search. Is he rumored to be taking over?

    The tweet is gone, it seems.
  • mtmmtm United Kingdom
    edited November 2019 Posts: 4,857
    It’s too bad Barry didn’t do more Bonds beyond 1987, it would have been interesting to see how much his sound would have changed for Bond into the 90s and beyond. Would he have ever brought back the twangy guitars and bongos like David Arnold or just do what he did with his updated arrangement recordings like in the Moviola albums?






    The closest we got to another Bond soundtrack by him besides Moviola was for THE SPECIALIST, which I thought would have worked well when spliced into this scene in GE.






    I always thought this would at least sound great for the Monte Carlo casino sequence.



    Yeah a Barry in the 90s would've sounded like Specialist or Mercury Rising. I'm sure it would be lovely (because he's John Barry) and have a great mood to it, but possibly not hugely exciting, and there may well have been a strangely large amount of harmonica! :)
    Twangy guitar and wah-wah trumpets would be unlikely to feature!
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