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

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  • GadgetManGadgetMan Nigeria
    edited December 2019 Posts: 2,773
    boldfinger wrote: »
    GadgetMan wrote: »
    boldfinger wrote: »
    GadgetMan wrote: »
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
    What is surprising about that? Are any of his clones hyped by many people? As I said before, Zimmer and RCP are the go-to's because they are quick, probably not too expensive, and they cater the calculating wishes of the bankers behind the producers.

    Yeah...what I meant by surprising is, scores like Daft Punk's Tron Legacy, M83's Oblivion & Roque Banos' In The Heart Of The Sea all have lucid traits of a Zimmer score....but are praised. My main surprise is, once Zimmer's name is there.....it might not be that praised. Even most action movie trailer scores these days sound like Zimmer. My point is that Zimmer has turned film scoring into a character in movies...it's that prominent that composers these days, while not copying it entirely, tend to sound like Zimmer when it comes to blockbusters.
    I don't know In the heart of the sea, but I heartily disagree that the scores of Tron Legacy and Oblivion sound anything like Zimmer or influenced by him, neither the music nor the sound. I wouldn't say those are masterpieces, but within their own frame they offer a lot more heart than Zimmer's scores.
    Can you name an example of a film score by John Barry, John Williams, or Jerry Goldsmith that wasn't 100 times more of a character in the movie? That is my main gripe about Zimmer, that he turned filmmusic from a character with flesh and blood into an artificial wall of sound.
    This kind of sound gets used so often, even in trailers, as you correctly point out, because it superficially ticks the boxes of sounding spectacular, and it attracts additional audiences because it can be heard even by people walking along the street outside the cinema.
    I'm saying this as a man who loves electronic music as much as orchestral music.

    Yeah, true...of coz I love Barry & Goldsmith...those are stellar names. am not really a fan of John Williams...maybe just few of his scores. I consider the late James Horner better than him. We all know Barry so i won't say anything about him. Jerry Goldsmith is so consistent....just like Barry. Of course scores like Goldsmith's 'The Ghost & the Darkness' feels like a character in the film. But I understand your point....everyone have their favourite scores or composers. I love Zimmer, though he might not be the kind of composer you go for when you want to make a classic like Titanic. But I think the reason he's still relevant is coz Studios keep making Big budget action films & we can't expect composers like Michael Nyman(a composer I also love) to score an epic action film.
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    This thread has suddenly exploded - am I missing something? I'm guessing more speculation that Daniel Romer is no longer the composer - if so - who/what is this based on?
  • matt_umatt_u better known as Mr. Roark
    Posts: 2,443
    antovolk wrote: »

    Daft Punk of course!

    :D
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    @CraigMooreOHMSS Thanks a lot, those tracks are amazing. Now I'm going to be disappointed if Bond 25 won't be scored by Arnold, Powell or Giacchino.
  • Posts: 10,274
    Perhaps I’m just speaking from personal feelings, but I don’t understand why they don’t just get Arnold back. He knows the series and is great at what he does - the perfect choice in a pinch.
  • My reason for not hiring Arnold back is that he’s a leftover from the Brosnan era that served his purpose. I dunno what EON’s is, but I’m glad they’re looking for new blood.
  • Once again....the name that jumps out is Lorne Balfe. Also the fact that Lorne Balfe sea Instagram frequently and only follows 140 people - one of which is Cary Fukunaga is significant. He only recently started following Cary. I feel this is pretty much a foregone conclusion at this point.

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  • 4EverBonded4EverBonded Dancing at midnight under the BeBop Moon
    Posts: 11,746
    Yep, so it seems. So most of you familiar with Balfe's music think this is a good thing, right?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited December 2019 Posts: 5,641
    matt_u wrote: »
    antovolk wrote: »

    Daft Punk of course!

    :D

    That certainly would be interesting.
    Yep, so it seems. So most of you familiar with Balfe's music think this is a good thing, right?

    It depends on whether he was hired when Romer was originally rumored to have left or if he was a more recent addition.
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    Hmmm - I think this could go either way! Balfe's work on Fallout didn't really do a great deal for me other than this part (although the reliance of percussion makes it sounds like a bit like a Bourne hangover):


    Outside of "spy" - he fares better eg. The Lego Batman Movie and His Dark Materials. I could live with this, but there are others on the RPC list I'd rather see (and others I'd rather not).
  • Posts: 14,391
    I prefer Lorne Balfe to Hans Zimmer himself, so I could live with him doing the score.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,641
    Satorious wrote: »
    Hmmm - I think this could go either way! Balfe's work on Fallout didn't really do a great deal for me other than this part (although the reliance of percussion makes it sounds like a bit like a Bourne hangover):

    Best track on the entire score, for me.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited December 2019 Posts: 3,448
    Harry Gregson-Williams is closer to David Arnold. Composer of Spy Game (Universal). But it look like there whant something new, one of those two then:

    Rupert Gregson-Williams. English and moost varation of not to dark movies. To me looks like he get more Humor DC movies and like that. He not doing Wonder Woman 1984 and he is avaible. But it looks like he is more Warner /Sony composer then Universal or Paramount/Universal. Bee movie is from Paramount/Universal.

    Ramin Djawadi. Not like idea he composer of Warner tv series i hate, but he is also composer of Safe House (Universal), Iron Man (Paramount/Universal).

    About:

    Tom Holkenborg. One other reasen i say no to Adele is that like to see producers have enough trust for let movies doing his thing. Exept possible Dutch symbol in movie, for same reasen i prefer no Dutch hype created because he is compser. Besides that he did Batman v Superman: Dawn of Justice, to dark like Zimmer/Nolan.
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    I'd take Balfe over Zimmer any day! If Bond goes back to his cooler jazzy 60's roots, Wallfisch might be an interesting shout on that list!



    King of Thieves score has a lot more personality than most, just what I'd like to see. That said I suspect it's unlikely to be him.
  • Interesting developments if true. I’m a little disappointed as I was looking forward to Dan Romer, however, Remote Control does have some good talent on their roster.

    The obvious choice from that list would probably be Lorne Balfe, but the prospect that would excite me would be Ramin Djawadi.
  • WalecsWalecs On Her Majesty's Secret Service
    edited December 2019 Posts: 3,157
    Yep, so it seems. So most of you familiar with Balfe's music think this is a good thing, right?

    Not at all. I feel like his scores are generic ambient sound and provide few melodies. He also doesn't seem to really care about source material as proven by his Terminator score. Though admittedly I'd still rather have him than Hans Zimmer.
  • HildebrandRarityHildebrandRarity Centre international d'assistance aux personnes déplacées, Paris, France
    Posts: 218
    For Henry Jackman, you can check his work on the two latest Uncharted video games, Uncharted 4: A Thief's End and Uncharted: The Lost Legacy. These are scores recorded with a full orchestra.
  • Posts: 642
    Walecs wrote: »
    Yep, so it seems. So most of you familiar with Balfe's music think this is a good thing, right?

    Not at all. I feel like his scores are generic ambient sound and provide few melodies. He also doesn't seem to really care about source material as proven by his Terminator score. Though admittedly I'd still rather have him than Hans Zimmer.

    Can't agree there. The M:I-Fallout score is one of my favorites of the last decade, and not only is he absolutely reverential to Schifrin, the Mission: Impossible theme, and "The Plot" melody -- but it seems like the entire score is built almost exclusively around them. All while keeping a modern edge to things.

    A 007 score delivered in the same vein would thrill me.
  • I'd love to see whoever does the score to try and do an updated version of the the 007 theme.
  • RyanRyan Canada
    Posts: 319
    Balfe is okay in my books. Fallout had a fantastic score.
  • TripAcesTripAces Universal Exports
    Posts: 3,931
    OOWolf wrote: »
    To keep up the tradition of a good argument, I'll state mine in regards to Eon, Dan Romer and the works.

    First of all, I feel that Eon has become incapable of hiring people who have some deeper personal connection with the series. One example is having the new Bond women talking about empowered female rolls that the series has never seen. I mean, I just rewatched 'YOLT' for the nth time, and it reminded me of empowered female characters like Aki or Kissy. I don't think Harris, Lynch or Armas know anything about the classics. If you watch interviews with them, they mostly quote Craig's films, which makes me believe that they're clueless about the legacy. Anyway, my point is that if some of these people really knew the films, they wouldn't try to take credit for 're-inventing' the wheel.

    Just as some of the actors are clueless, so are the recent composers. In my opinion, Thomas Newman brought in some extremely lackluster scores, and hearing some of Romer's work, I bet he'd deliver something fairly generic too. Aside from perhaps Arnold, hasn't someone like Newman heard the charismatic, bombastic nature of Barry's scores? I mean, I understand we're no longer in the 20th century, but so what? Barry's music had so much pizzaz and personality that it felt like an omniscient character in every film that he scored.

    It takes a passionate vision to make something special. You can't just phone it in...

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  • edited December 2019 Posts: 5,767
    Yep, so it seems. So most of you familiar with Balfe's music think this is a good thing, right?
    Wrong.

    Not to sound too melodramatic, the score won't be worse than in recent Bond films, and the other day I could even live with SP's score. However, I have no interest in listening to the scores of SF or SP outside the film. I expect NTTD to feature a similar score, in the sense of that it won't disturb during the film, but it won't be music I want listen to on its own. And I would be surprised if the score did anything to lift up the film. Would be most happy to be proven wrong.
  • Posts: 170
    Balfes Score to M:I-Fallout is amazing, here the best cues from the score

  • edited December 2019 Posts: 2,810
    Per the admins of this site...


    Upd: just saw the article they posted, they believe it's Zimmer and not Balfe
    https://www.mi6-hq.com/news/rumours-swirl-on-no-time-to-die-composer-conundrum-191228
  • Posts: 948
    Do we know why? The inkling for me is maybe they feel they’ve got a classic on their hands and the score should reflect that...???
  • I know many around here aren’t fans of his but I would be absolutely ELATED by the prospect of a Hans Zimmer score. If turns out to be the case, then NTTD will have assembled damn near my dream crew for a Bond film.
  • Posts: 10,274
    I enjoy most of Zimmer’s scores, though I am skeptical how good he’d be with Bond. I would not want an Inception/Dark Knight type of sound for it.
  • Posts: 5,767
    Matt007 wrote: »
    Do we know why? The inkling for me is maybe they feel they’ve got a classic on their hands and the score should reflect that...???
    Then they shouldn't let any RCP composer anywhere near it.
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