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

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  • Posts: 2,898
    ToTheRight wrote: »
    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?

    .

    Judging by Romer's work, I'm guessing he didn't deviate too much from his style, which ultimately cost him the job. It was a silly decision to start with when you listen to his body of work. He was never suited for Bond.

    And if Romer tried to continue in the style he was comfortable with, no wonder he was booted out. What Romer should have done is deliver a score that sounded like a Bond score, and by the looks of things he didn't do just that.

  • j_w_pepperj_w_pepper By the powers *in*vested in me by this parish, I hereby do commandeer this message board
    Posts: 7,185
    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?

    The problem is that I am so put off by the Zimmer scores I know that I never felt the urge to get into more. Unlike Barry, Morricone, Williams, Goldsmith and even Horner where I'd buy a score without hesitation to just find out. I've seen two of the three movies you mentioned above (not Days of Thunder) but the score made no impression on me that I could use as a basis for comment. I just don't remember any of it. And I won't watch Interstellar again, which for me is a boring, pretentious wreck of a movie.
  • edited January 2020 Posts: 2,898
    j_w_pepper wrote: »
    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?

    The problem is that I am so put off by the Zimmer scores I know that I never felt the urge to get into more. Unlike Barry, Morricone, Williams, Goldsmith and even Horner where I'd buy a score without hesitation to just find out. I've seen two of the three movies you mentioned above (not Days of Thunder) but the score made no impression on me that I could use as a basis for comment. I just don't remember any of it. And I won't watch Interstellar again, which for me is a boring, pretentious wreck of a movie.

    Here you go, to jog your memory...

    Days of Thunder opening credits theme - brilliant! Still gives me goosebumps.


    Interstellar docking theme. Slow build up, but brilliant once it gets going (around 2 mins in) -


    True Romance, been rehashed and reworked to death ever since by various other composers -
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    One of the main reasons I like a Zimmer score is, I can enjoy it on it's own.Composers like Newman & Romer pay too much attention to how the score fits in with the picture....not saying it's bad, but most times one can't enjoy scores of such ilk as a listening experience....especially if it's an action film. The best way, is making sure it works in the film & as a listening experience as well....it's Something Barry, Martin, Hamlisch & Arnold did so well & I think Zimmer's going to do just that.

  • edited January 2020 Posts: 3,063
    j_w_pepper wrote: »
    my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software.

    That's a poor impression. Sorry.

    Zimmer is a legend and extremely versatile. Comparing the scores from 'Thelma and Louise, 'Gladiator' and 'Dunkirk' you couldn't tell it's the same composer on all three.




    There's a reason why he is the most sought-after composer in Hollywood, but to each his own.
  • mtmmtm United Kingdom
    Posts: 12,111
    So it’s still not actually been officially announced then?
    Still, looks like it’s all but certain, and it’s the best possible result I think. He’s pretty much the biggest and the best and maybe the only composer working at the moment assured of ‘legend’ status, so it’ll be fun to see what he comes up with.

  • matt_umatt_u better known as Mr. Roark
    Posts: 4,292
    mtm wrote: »
    So it’s still not actually been officially announced then?
    Still, looks like it’s all but certain, and it’s the best possible result I think. He’s pretty much the biggest and the best and maybe the only composer working at the moment assured of ‘legend’ status, so it’ll be fun to see what he comes up with.

    +1.
  • DrClatterhandDrClatterhand United Kingdom
    Posts: 349
    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?
    mtm wrote: »
    So it’s still not actually been officially announced then?
    Still, looks like it’s all but certain, and it’s the best possible result I think. He’s pretty much the biggest and the best and maybe the only composer working at the moment assured of ‘legend’ status, so it’ll be fun to see what he comes up with.

    +2
  • mtmmtm United Kingdom
    edited January 2020 Posts: 12,111
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)
  • TripAcesTripAces Universal Exports
    Posts: 4,510
    ToTheRight wrote: »
    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?

    .

    Judging by Romer's work, I'm guessing he didn't deviate too much from his style, which ultimately cost him the job. It was a silly decision to start with when you listen to his body of work. He was never suited for Bond.

    And if Romer tried to continue in the style he was comfortable with, no wonder he was booted out. What Romer should have done is deliver a score that sounded like a Bond score, and by the looks of things he didn't do just that.

    Or maybe we are jumping to conclusions: Romer might be the one who took himself off the project, feeling overwhelmed. This is certainly possible. The guy has not undertaken a project quite like this before, and I can imagine the stress getting to him.
  • j_w_pepperj_w_pepper By the powers *in*vested in me by this parish, I hereby do commandeer this message board
    Posts: 7,185
    mtm wrote: »
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)
    I guess the only way to get John Williams to compose for a Bond movie would have been to hire Steven Spielberg as the director in time. But even that doesn't seem to be a sure bet any more, since the Ready Player One score is by Alan Silvestri. Who would very likely also be a better choice for Bond than you-know-who.
  • mtmmtm United Kingdom
    edited January 2020 Posts: 12,111
    Romer did always worry me a bit. Although we’re not assured a score I’ll love I do think it stands a better chance of being interesting. And the whole point of Bond to me is that they’re fairly average adventure films made by and starring a load of people who are hugely overqualified for the job, meaning we get beautiful sets and wonderful scores made by the best in the business, Oscar winners everywhere. It’s completely style over substance: that’s sort of the point. So getting someone just starting out who produces kind of ordinary music didn’t feel quite right: much better we have the biggest name around doing it, even if it turns out to be not his greatest score.
  • Posts: 16,480
    The only thing I get from the current discussion on this thread is a reminder how much I hate modern day film scores…
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    j_w_pepper wrote: »
    mtm wrote: »
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)
    I guess the only way to get John Williams to compose for a Bond movie would have been to hire Steven Spielberg as the director in time. But even that doesn't seem to be a sure bet any more, since the Ready Player One score is by Alan Silvestri. Who would very likely also be a better choice for Bond than you-know-who.

    Yeah, but if he were to be alive, I've always felt Jerry Goldsmith was someone who could do a Stellar Bond score. And I think he's way better than John Williams & Alan Silvestri.
  • mtmmtm United Kingdom
    Posts: 12,111
    The only thing I get from the current discussion on this thread is a reminder how much I hate modern day film scores…
    I don’t think that’s very useful. Yes, the majority of them aren’t great, but then that’s always been the case. Not all are classics, it’s just the classics we remember.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    mtm wrote: »
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)

    And he's also thousands of times better than Zimmer.

    I, too, am curious about Romer's score because it's the first time in 60 years they ditched a composer.
  • Posts: 2,898
    mtm wrote: »
    Romer did always worry me a bit. Although we’re not assured a score I’ll love I do think it stands a better chance of being interesting. And the whole point of Bond to me is that they’re fairly average adventure films made by and starring a load of people who are hugely overqualified for the job, meaning we get beautiful sets and wonderful scores made by the best in the business, Oscar winners everywhere. It’s completely style over substance: that’s sort of the point. So getting someone just starting out who produces kind of ordinary music didn’t feel quite right: much better we have the biggest name around doing it, even if it turns out to be not his greatest score.

    Well said!
    :-bd
  • mtmmtm United Kingdom
    Posts: 12,111
    Walecs wrote: »
    mtm wrote: »
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)

    And he's also thousands of times better than Zimmer.

    Well he’s a thousand times better than everybody! :) I’m not sure where it really gets us listing who he’s better than...
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    Zekidk wrote: »
    j_w_pepper wrote: »
    my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software.

    That's a poor impression. Sorry.

    Zimmer is a legend and extremely versatile. Comparing the scores from 'Thelma and Louise, 'Gladiator' and 'Dunkirk' you couldn't tell it's the same composer on all three.




    There's a reason why he is the most sought-after composer in Hollywood, but to each his own.

    They all pale in comparison to this one:
  • mtmmtm United Kingdom
    Posts: 12,111
    Walecs wrote: »
    Zekidk wrote: »
    j_w_pepper wrote: »
    my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software.

    That's a poor impression. Sorry.

    Zimmer is a legend and extremely versatile. Comparing the scores from 'Thelma and Louise, 'Gladiator' and 'Dunkirk' you couldn't tell it's the same composer on all three.




    There's a reason why he is the most sought-after composer in Hollywood, but to each his own.

    They all pale in comparison to this one:

    Not really... :D
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 22,005
    This is becoming a battle of tastes with few actual arguments. Back on track, peeps?
  • Fire_and_Ice_ReturnsFire_and_Ice_Returns The Bright Side of the Road.
    edited January 2020 Posts: 19,462
    As a big fan of Hans Zimmer I am happy with this, Inception is fantastic IMO...
  • 4EverBonded4EverBonded the Ballrooms of Mars
    edited January 2020 Posts: 12,446
    Landing this gig is a big deal. Bond is unique. I think Zimmer is well aware of this and I'm eager to see what he comes up with. I highly doubt it will be boring, too mild, mediocre, or not memorable (which to me was Newman). Will he swing too far in the "metallic" "bombastic" direction? I doubt that, too. I bet he wants to knock this one out of the ballpark. I just feel like this could be a very good and exciting score. Interesting he's been working on NTTD for about a month already. That's good news.

    Also, really isn't it time we had SOME idea about the title song? Anybody know when we can expect that bit?
  • 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.

    is this memorable enough?

  • Posts: 16,480
    mtm wrote: »
    The only thing I get from the current discussion on this thread is a reminder how much I hate modern day film scores…
    I don’t think that’s very useful. Yes, the majority of them aren’t great, but then that’s always been the case. Not all are classics, it’s just the classics we remember.

    IMO the average 60's/70's/80's scores were much more fun and interesting than the sounds we get today – and the linked videos above were only a reminder of that for me. With Arnold's scores I sort of felt the same as I do with older scores. Time will tell if Zimmer does the same. I'm not a fan, that's for sure.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 6,846
    John Williams could have done
    Walecs wrote: »
    mtm wrote: »
    I mean obviously John Williams is technically still working at the moment so that’s not quite true, but I doubt he’s taking a huge amount on! :)

    And he's also thousands of times better than Zimmer.

    I, too, am curious about Romer's score because it's the first time in 60 years they ditched a composer.

    Sorta. A lot of Monty Norman's work was ditched for DR. NO in favor of just replaying John Barry's arrangement of the Bond theme. Makes me wish EON had been able to just hire John Barry to re-score the entire film rather than just working on the theme. The jump in quality from Norman's underscoring to Barry's in FRWL is immeasurable.

    What really blows my mind is that Monty Norman originally submitted "Underneath the Mango Tree" as the James Bond theme. To which Terence Young said "there aren't gonna be any bloody mango trees in the other films!"
  • mtmmtm United Kingdom
    Posts: 12,111
    mtm wrote: »
    The only thing I get from the current discussion on this thread is a reminder how much I hate modern day film scores…
    I don’t think that’s very useful. Yes, the majority of them aren’t great, but then that’s always been the case. Not all are classics, it’s just the classics we remember.

    IMO the average 60's/70's/80's scores were much more fun and interesting than the sounds we get today – and the linked videos above were only a reminder of that for me. With Arnold's scores I sort of felt the same as I do with older scores. Time will tell if Zimmer does the same. I'm not a fan, that's for sure.

    Zimmer was producing scores in the 80s so you should be happy ;)
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,213
    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.

    Well, for the use of "007", EON would have to pay royalties to the estate of John Barry.
  • mtmmtm United Kingdom
    edited January 2020 Posts: 12,111
    vasilismf wrote: »
    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.

    is this memorable enough?


    I'd add this too:



    A great theme, and entirely unexpected for Holmes, and yet fits the film perfectly. And funnily enough, Michael Price & David Arnold's Sherlock theme seemed to change its instrumentation to a cimbalom-style, Eastern European instrument just after this score was released... ;)
  • Posts: 12,436
    Hans Zimmer it is then!!! Well I guess we await to see what he and his company comes up with?
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