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True, all of that. I don't disagree with you @boldfinger. I made the mistake of reading the reactions to your post and not the post itself. Sorry ;)
I saw him live in Sydney at the end of last year, and while speaking about his upcoming projects, he mentioned he was next working on a big top secret gig due out next year and that it was something he'd dreamed of working on. He was practically giddy talking about it, even bouncing around on his piano stool. He seemed genuinely excited about it.
I'd heard the Romer rumours, and was pretty certain he was referring to NTTD. It was the only other big 2020 release he wasn't attached to.
Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.
I had a similar reaction to both Interstellar and Dunkirk, though the latter I still find hard to listen to sometimes.
I'm in that place with his score for Dark Phoenix right now. It didn't do much for me on first watch and first listen, and certainly does sound like Zimmer on autopilot.
None of his recent scores are on the level of his 90s and early 00s output, but I don't think his music is as cut and dried, simple loud noises and banging, as some think it is; the fast food metaphor in particular doesn't really work for me, as someone who enjoys many of his scores more now than I did when they were first released.
Believe it or not, I'm actually expecting the same for his Bond score. So either way, whether I like it straight off the bat or come to like it later, I'll probably end up enjoying it. What will make it stand out amongst his other works is just how much influence he takes from Bond's musical history.
We shall see.
But then you might just be generalising again, writing him off completely based on just a few tracks. I don't find it terribly insightful.
Oh that's fun! :)
I feel the producer's are giving too much say to these big name director's which started when Mendes was given the job.
I'm pleased Zimmer has the job as he has brilliantly scored films from all different genre's. But I think the producer's could have saved time and money by choosing the composer themselves in the first place.
However the film turns out, it's production history is going to make fascinating reading....
I totally agree. And come to even think of it....the Bombastic, Angry opening of YKMN sounds like something Zimmer can actually do....I think based on Zimmer's style, YKMN might actually be Zimmer's Best Bond song. So his score might sound like that....not necessarily bringing back YKMN, but that song's style sounds like something Zimmer can do. If any Bond can accommodate Zimmer's Sound, it's Craig....he's a gritty Bond after all.
So you're saying Zimmer should emulate David Arnold's style...?
Irony alert! 🤔
Oh! no, that's not what I meant....I meant Zimmer is often criticized for Being Bombastic. But in truth, the Bond style is indeed Bombastic. Something Barry even said in an interview. All am saying is, a sound like the one in YKMN, is the type of sound one would expect Zimmer to come up with in a Bond film. that is, Loud tracks with the Bond theme around it....coz that song is Bombastic, so is Zimmer. Out of all Craig's theme Songs, if one were to associate one with Zimmer's style, I think it would be YKMN. All am saying is the franchise have already had Big Sounding Music before Zimmer, so Zimmer scoring it....doesn't mean he's here to change the franchise's style. The franchise is not a romantic comedy after all...that one should be worried about having Zimmer on board...and funny enough, Zimmer has even scored a Romantic Comedy before to full Perfection. It just gets to show that before he starts scoring, he knows the kind of film that's in front of him. In recent times, he's been scoring too many Sci-fi & Superhero films...maybe that's why it's often forgotten that he can actually score other films.
Wow! Based on a quick search this show happened around Oct 6, 2019, which means Zimmer has been at work on NTTD for at least 3 months already!!
But remember it was Klaus Badelt that score the first pirates not Zimmer and most of the melodies and the main theme we’re lifted from the original score. One Zimmer didn’t write.
I disagree here as despite Zimmer taking over from the original films composer there are newer melodies in the sequels that stand out as much as the main theme.
As for Zimmer and Bond meant to be proven wrong in two months time!
I remember finding Alan Silvestri’s score for Avengers very anticlimactic when I first heard it and after several rewatches and the passage of time it’s become one of the most instantly recognisable themes of the last decade.
Zimmer did write the main theme for Pirates, as far as I know. Badelt was credited for the rest (though there were a lot of hands involved in that score), but almost all of the main themes are definitely from Zimmer's pen. He was just too busy to be involved in the orchestration of the score.
I've literally lost count of the number of times I've watched a movie, thought the score was awesome and then found out it was Zimmer.
NTTD is shaping up nicely.
I just really hope Zimmer has the time and willingness to collaborate with the title song artist. I want the title track woven into the score. If he isn't able to do this I will be disappointed.
But anyway, very happy he is on board.
Yeah, this is how I feel when I listen to a lot his stuff... it’s like I’m hearing what may be good music underneath the Trans Siberian Orchestration and I want it to come through, but I’m just left with this overpowering sound of something I don’t want to keep listening to.
I suspect I’ll like the score while watching the movie the first time, but be frustrated when trying to enjoy listening to it thereafter, certainly by itself. I’d be thrilled to be proved wrong though.
I think they do actually give their directors quite a lot of freedom to pick people and make decisions.
Don't forget Craig's producer role. He may have vetoed Arnold
Don't forget Craig's producer role. He may have vetoed Arnold
Definitely. And he will have been waiting his whole life for this gig.
Completely agree on his versatility. I remember thinking the 12 Years a Slave score was fantastic while watching the film and hey presto, guess who?
Maybe he did. Nolan's films can be painful at times.
I will take not being disappointed anyday over Newman or Romer.
People talk about forgettable film music - that's the definition of Newman. Barely a memorable theme in his entire back catalogue. Zimmer wipes the floor with him.
Beautiful performance of a great piece of music.
Same here. Action and emotion combined into one.
Not sure if you've heard this before, @DarthDimi, but I really enjoy it. Especially after the minute mark.
That's excellent stuff! :D
I think I remember hearing that before: it’s a lot of fun. I do remember rather liking his MoS theme: it feels just right. I like the build to it, like he is flying higher and higher. Rather like how Elfman’s Spider Man theme has a go at evoking heights and swinging between buildings. But obviously if you’re competing with the Williams Superman theme you’re not going to win! :)
I saw a new film the other day and they definitely seem to have decided to use the JW theme; I can’t blame them!
It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.