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

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  • mtmmtm United Kingdom
    Posts: 4,857
    Getafix wrote: »
    antovolk wrote: »
    HASEROT wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    TLD is another Bond film where the weaving of songs into the score was really beneficial. We were lucky with 3 very Good songs. 'A-ha's 'The Living Daylights', The Pretenders' 'Where has everybody gone?' & 'If there was a man'.....and look how beautiful that score turned out to be....coz Barry was so nifty with his approach. 3 very good songs in one Bond film...what a way for Barry to leave the Bond franchise....Epic!....that's how to successfully score a Bond film. I've seen many Non-Bond fans who like TLD's score....it's that infectious.

    It’s pretty fantastic, it’s true.
    HASEROT wrote: »
    In one of the James Bond & Friends podcast episodes Bill Koenig brought up an excellent point of how EON's approach to title song and score had changed by 1997. Originally they approached John Barry to score, however one of the big issues that resulted in him not wanting to return was that they didn't guarantee him producing the title song like he did in the past. And as we saw, they ultimately rejected the k.d. Lang song that David Arnold actually produced. That's what John Barry didn't want to deal with, and why he never came back. After the issues that came about with A-Ha, EON seems to have become content to allow the artists the option of total creative control over the song as a way of enticing them for the gig. This would shut out composers from the process, with the three notable exceptions being "Surrender", TWINE, and YKMN.

    thats EON "Chasing the Dragon" as it were - they now seem to consistently want that chart topping song as well... it seemed like after they struck gold with Sheena Easton with "For Your Eyes Only" and Duran Duran with "A View To A Kill" they now view that as a priority..

    I think as a publicity tool it’s undeniably a great asset. I don’t think there’s anything wrong with that: it’s not as if the songs haven’t been put into the charts right from Barry’s version of the James Bond Theme.

    oh i personally dont really care one way or the other lol - i'm just calling it what it is..

    if they want to chase the top spot on the Billboard 100, hey go for it... i would just like to hear the song worked into the score more than it has been in recent films, thats all i am saying.

    As I mentioned in the title song speculation thread, if the current speculation that Beyonce got it is correct, it may actually help with that very thing as her and Hans Zimmer have worked together just recently on The Lion King. Could bring back a level of composer involvement with the title song not seen since the Barry days.

    Sounds good to me!

    Not super keen on Beyonce. And is it really wise after she did an Austin Powers movie?



    Well we already got Madonna! :)
  • GadgetManGadgetMan Nigeria
    Posts: 2,769
    Newman doesn't strike me as someone who's into Rock/Pop music. If he listened to such music, am sure it would have inspired him to work with an artist.
  • But, AGAIN, as it’s been pointed out countless times, the Adele song was recorded very late in production that would have made it unlikely to appear weaves through the whole film. Not Newman’s fault, which you seem to keep giving him and yet make no comment on Kamen and Serra.

    And EON had sat on the Sam Smith song for a good nine months before actually putting it out there, so if they wanted the song more woven in SP than Adele’s was they could have requested that... and yet they didn’t.
  • GadgetManGadgetMan Nigeria
    edited January 10 Posts: 2,769
    For some reason, I've always thought Kamen's LTK & Serra's GE are still good scores without the title song....especially Serra's. so one could forgive the absence of the title song there. It sort of worked for Newman too in SF. But once tracks were repeated from SF, the absence of the title song was deeply felt in SP.
  • mtmmtm United Kingdom
    Posts: 4,857
    When did Radiohead do theirs?
  • Posts: 2,810
    mtm wrote: »
    When did Radiohead do theirs?

    Around October/November 2014 I believe.
  • MinionMinion Don't Hassle the Bond
    edited January 10 Posts: 833
    Radiohead was canned after completing a song, so it is completely possible EON wasn't 100% confident Smith was whom they would ultimately go with, and by the time they did - just like Skyfall - the score was basically done already.
  • SatoriousSatorious Brushing up on a little Danish
    edited January 10 Posts: 183
    Feeling pretty uninspired about the Hans Zimmeh news!

    Don't get me wrong - I don't mind him as a person, he's wonderfully flamboyant and has lots of fans - doesn't make him a great composer though. His latest scores have been really lazy in my opinion. Hope he proves me wrong and knocks it out the park - but I'm preparing for 2hrs of bland/loud trailer music with pounding percussion, pulsing synths and building repetition. Hopefully he'll put more effort in and come up with something truly memorable and melodic which will make me eat my words - rather than something dull, rushed and cliched like pretty much every other action film out at the moment. This is a Bond film and I demand more from the score! It has a unique style which makes it stand out from the crowd. Can any of you fanboys hum anything from his Nolan Batman scores? I know I can't! Can I hum Danny Elfman? Yes.

    I see Beyonce is rumoured for title song? Again - seems a safe and boring choice - plus I'm getting Austin Powers 3 flashbacks - and that's just not cool after Spectre's "brother gate"!
  • talos7talos7 New Orleans
    Posts: 5,470
    Minion wrote: »
    Radiohead was canned after completing a song, so it is completely possible EON wasn't 100% confident Smith was whom they would ultimately go with, and by the time they did - just like Skyfall - the score was basically done already.
    Wasn’t there also the issue that the Radiohead song was one that they had already been performing live?
  • edited January 10 Posts: 14,391
    talos7 wrote: »
    Minion wrote: »
    Radiohead was canned after completing a song, so it is completely possible EON wasn't 100% confident Smith was whom they would ultimately go with, and by the time they did - just like Skyfall - the score was basically done already.
    Wasn’t there also the issue that the Radiohead song was one that they had already been performing live?

    I thought so too – an unused demo track or something(?).
  • GadgetManGadgetMan Nigeria
    edited January 10 Posts: 2,769
    I think Radiohead also had their song 'Man of War' rejected from their OK COMPUTER REISSUE....difference was, Eon liked the song. But as it wasn't written for SP, it would be ineligible for an Oscar win.
  • EiragornEiragorn Hessia
    Posts: 108
    But, AGAIN, as it’s been pointed out countless times, the Adele song was recorded very late in production that would have made it unlikely to appear weaves through the whole film. Not Newman’s fault, which you seem to keep giving him and yet make no comment on Kamen and Serra.

    And EON had sat on the Sam Smith song for a good nine months before actually putting it out there, so if they wanted the song more woven in SP than Adele’s was they could have requested that... and yet they didn’t.

    I don't know where this 'late in production' notion comes from but it plain false. Adele was appointed in early 2011 and a demo was completed in October before even the title was announced nevermind the shooting began. Newman wasn't officially listed back then and was only formally announced two months later – it's therefore safe to conclude he wasn't contracted at the first press conference. It is correct that the finished recording only was made concurrently with the soundtrack recordings and was even to be supervised by Newman himself who instead sent his orchestrator Redford for the job.

    In short: Newman had a usable demo of the song at hand right from the start but only included an interpolation in his soundtrack after the producer demanded it customary. I do not imply any bad will on Newman's side other than that this wasn't his expected modus operandi from the get-go.

    As you said it was roughly the same with the follow-up. If I recall correctly the title song interpolations are even credited only to Redford alone. Anyway, for the exact references I would recommend the Wikipedia article where all the respective interviews are listed. I know this for a fact since I wrote the German article myself :D

    And when it comes to 'No Good About Goodbye' – you realize that this song was built from the abandonded Winehouse sessions together with some leftovers lines from earlier title song sketches?
  • Thanks for the correction. So we can definitely pin it on EON for not requesting Mendes include the title song across the the score beyond a token appearance.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    edited January 10 Posts: 3,970
    GadgetMan wrote: »
    I think Radiohead also had their song 'Man of War' rejected from their OK COMPUTER REISSUE....difference was, Eon liked the song. But as it wasn't written for SP, it would be ineligible for an Oscar win.

    It is one of the greatest never Bond song, it sounds like Radiohead but it feels like a song that could easily be a Bond theme. The talent in that band is most intimidating for the majority of contemporary acts out there.

    Jonny Greenwood on his own is a respected and Oscar nominated film composer and Thom Yorke gained great acclaim for his Suspiria remake score.

    EON and Mendes did love the song but the fact it was an older song although not released and in demo form and had been performed live it would have been ineligible for a nomination and EON were banking on another one of those after the success of Adele.

    To think the Academy gave that dreary song the best song, Adele I get but 2016 best song must have been pretty barren for that screechy rubbish that Sam Smith delivered.

    Man of War is in another orbit to what that garbage is.

    Years later people will listen to it and say EON rejected this for Wailings On The Wall.

  • EiragornEiragorn Hessia
    Posts: 108
    Shardlake wrote: »
    GadgetMan wrote: »
    I think Radiohead also had their song 'Man of War' rejected from their OK COMPUTER REISSUE....difference was, Eon liked the song. But as it wasn't written for SP, it would be ineligible for an Oscar win.

    It is one of the greatest never Bond song, it sounds like Radiohead but it feels like a song that could easily be a Bond theme. The talent in that band is most intimidating for the majority of contemporary acts out there.

    Jonny Greenwood on his own is a respected and Oscar nominated film composer and Thom Yorke gained great acclaim for his Suspiria remake score.

    EON and Mendes did love the song but the fact it was an older song although not released and in demo form and had been performed live it would have been ineligible for a nomination and EON were banking on another one of those after the success of Adele.

    To think the Academy gave that dreary song the best song, Adele I get but 2016 best song must have been pretty barren for that screechy rubbish that Sam Smith delivered.

    Man of War is in another orbit to what that garbage is.

    Years later people will listen to it and say EON rejected this for Wailings On The Wall.


    True, possibly the only proper Bond theme by them for they moved into different soundscapes a long time ago...
  • Posts: 5,767
    Found this video of zimmer, not a fan of his score from TDK but enjoyed this one.
    Showcases well the shallowness, but that bass player is incredibly hot.

  • MinionMinion Don't Hassle the Bond
    edited January 10 Posts: 833
    Shardlake wrote: »
    GadgetMan wrote: »
    I think Radiohead also had their song 'Man of War' rejected from their OK COMPUTER REISSUE....difference was, Eon liked the song. But as it wasn't written for SP, it would be ineligible for an Oscar win.

    It is one of the greatest never Bond song, it sounds like Radiohead but it feels like a song that could easily be a Bond theme. The talent in that band is most intimidating for the majority of contemporary acts out there.

    Jonny Greenwood on his own is a respected and Oscar nominated film composer and Thom Yorke gained great acclaim for his Suspiria remake score.

    EON and Mendes did love the song but the fact it was an older song although not released and in demo form and had been performed live it would have been ineligible for a nomination and EON were banking on another one of those after the success of Adele.

    To think the Academy gave that dreary song the best song, Adele I get but 2016 best song must have been pretty barren for that screechy rubbish that Sam Smith delivered.

    Man of War is in another orbit to what that garbage is.

    Years later people will listen to it and say EON rejected this for Wailings On The Wall.


    In its current form, I don't think M-O-W works well as an opening theme. Comparing the song in the video with WOTW, I'd still go with Sam Smith as the better option. However, I'm sure like Barry and TLD, the song would sound much different had EON gone with it as the main theme of SP, so its impossible to say.


    Lovely song, though. I really dig it.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    edited January 10 Posts: 3,970
    Minion wrote: »
    Shardlake wrote: »
    GadgetMan wrote: »
    I think Radiohead also had their song 'Man of War' rejected from their OK COMPUTER REISSUE....difference was, Eon liked the song. But as it wasn't written for SP, it would be ineligible for an Oscar win.

    It is one of the greatest never Bond song, it sounds like Radiohead but it feels like a song that could easily be a Bond theme. The talent in that band is most intimidating for the majority of contemporary acts out there.

    Jonny Greenwood on his own is a respected and Oscar nominated film composer and Thom Yorke gained great acclaim for his Suspiria remake score.

    EON and Mendes did love the song but the fact it was an older song although not released and in demo form and had been performed live it would have been ineligible for a nomination and EON were banking on another one of those after the success of Adele.

    To think the Academy gave that dreary song the best song, Adele I get but 2016 best song must have been pretty barren for that screechy rubbish that Sam Smith delivered.

    Man of War is in another orbit to what that garbage is.

    Years later people will listen to it and say EON rejected this for Wailings On The Wall.


    In its current form, I don't think M-O-W works well as an opening theme. Comparing the song in the video with WOTW, I'd still go with Sam Smith as the better option. However, I'm sure like Barry and TLD, the song would sound much different had EON gone with it as the main theme of SP, so its impossible to say.


    Lovely song, though. I really dig it.

    I think it screams Bond without being a cliched or a pastiche like what WOTW is.

    The opening does tease something special, although it is just pastiche, then Smith opens his gob

    " some things are just not done my dear, like listening to Writings On The Wall without ear muffs"

    The song even matches the main titles uncannily, I think it would be amazing as an opening song.

    That being the film would need to be worthy of such artistry and SPECTRE the released film most certainly isn't so I should be grateful that an amazing song wasn't attached to such an atrocious film.

    Sorry I hate the film.
  • Posts: 5,767
    Listen to this interview with Hans Zimmer where he talks about being a John Barry fan at 18:00

    I´m sure he´s a fan of a lot of things, but most of all, he´s a professional film industry bullshitter, like so many others.

    And a lot of people have claimed to be fans. In most cases it didn´t show at all.
  • EiragornEiragorn Hessia
    edited January 10 Posts: 108
    Btw, this video is quite interesting regarding the RCP method for soundtracks:

    The Lion King sequel was only direct-to-video so Zimmer relegated one of his minions to the soundtrack. Against all odds the film turned out to be quite good since it incorporated much material that was originally created for the predecessor. Some cues were so good Zimmer reused them for the Gladiator soundtrack under his own name. The Pirates soundtrack again was not important enough to be overseen by Zimmer directly so he appointed the inexperienced Badelt who in turn perfected the very same cue into the well known theme. Due to its success Zimmer took over for the sequels and – as apparent in this thread – achieved to be associated with its soundtrack as a whole. This alone I find despictable.

    When it comes to Zimmer's original material it's true that it dictates the action soundtrack style in general; it's bombastic without ever drawing attention to itself – equal to trailer music or YouTube autoScore. In fact I find the utter lack of melody as well as any dynamic highly depressing. No wonder Elfman's sinister Batman march still is the character's leitmotif in place of TDK's unmelodic droning. In essence Zimmer's usage of an orchestra mostly equals the subtlety of one very expensive ship's horn.

    Still he is highly successful since his scores work adequately for the audience and are always delivered on-time and in-budget due to this questionable workshopping process. Plus he understands to stay in the conversation as shown in the video above...
  • edited January 10 Posts: 12,292
    How did I miss this? Don't know what happened with Romer (EON overruling Fugunaka?) but replacing him with Hans Zimmer. What a turn up. He's great at coming up with melodies and weaving them through the film (Sherlock Holmes, Batman) and he can do some really cool out there stuff (the ticking clock thing for Dunkirk). One of the best composers going imo. To be honest two Newman films in a row had pretty much destroyed my expectations music wise but with Zimmer doing it I'm excited about a Bond score for the first time in ages.

    Beyonce seems like a bit of a naff choice for the theme though imo. I was hoping that Craig would be able to use his clout to get someone cooler (he wanted Radiohead last time). Beyonce would be another Adele/Smith. Bland safe poppy choice. Bit boring.

    I don't know why they don't just throw money at Arctic Monkeys until they say yes. We haven't had a rock theme for ages. They're insanely creative and versatile (why do you think they've outlived pretty much all the other indie bands from that era?). And they're big enough to still get the song in the charts, maybe have a chance at that best song Oscar, etc. They have big commercial appeal, are actually a cool and interesting band, and Alex Turner did some very Bond sounding stuff on the first Last Shadow Puppets album. Bet Craig loves them too. Seriously how has this not happened yet they'd literally be perfect.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,379
    Eiragorn wrote: »
    Btw, this video is quite interesting regarding the RCP method for soundtracks:

    The Lion King sequel was only direct-to-video so Zimmer relegated one of his minions to the soundtrack. Against all odds the film turned out to be quite good since it incorporated much material that was originally created for the predecessor. Some cues were so good Zimmer reused them for the Gladiator soundtrack under his own name. The Pirates soundtrack again was not important enough to be overseen by Zimmer directly so he appointed the inexperienced Badelt who in turn perfected the very same cue into the well known theme. Due to its success Zimmer took over for the sequels and – as apparent in this thread – achieved to be associated with its soundtrack as a whole. This alone I find despictable.

    When it comes to Zimmer's original material it's true that it dictates the action soundtrack style in general; it's bombastic without ever drawing attention to itself – equal to trailer music or YouTube autoScore. In fact I find the utter lack of melody as well as any dynamic highly depressing. No wonder Elfman's sinister Batman march still is the character's leitmotif in place of TDK's unmelodic droning. In essence Zimmer's usage of an orchestra mostly equals the subtlety of one very expensive ship's horn.

    Still he is highly successful since his scores work adequately for the audience and are always delivered on-time and in-budget due to this questionable workshopping process. Plus he understands to stay in the conversation as shown in the video above...

    i think for me - the reason i just don't really care for Zimmer's work is just that is has no replay value.. it works fine in the movies, and THAT IS the most important part obviously.. i dont want shit music in the movie - but man does it sound awesome on my home stereo lol... it's function is to serve the film, and as long as it does that - fine.. but beyond that, just judging the music alone by itself, there just isn't anything that stands out.. now he does have the exceptions like Lion King, Inception, Pirates.. but using the Batman Begins / TDK and TDKR soundtracks as an example - the music just isn't that unique, or memorable - nothing leaps out and sticks with you (at least for me it doesn't) - now compare that to Elfman's or Goldenthal's scores from Batman, Batman Returns, Batman Forever.. from a musical arrangement standpoint, i find those scores vastly superior..
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 3,970
    How did I miss this? Don't know what happened with Romer (EON overruling Fugunaka?) but replacing him with Hans Zimmer. What a turn up. He's great at coming up with melodies and weaving them through the film (Sherlock Holmes, Batman) and he can do some really cool out there stuff (the ticking clock thing for Dunkirk). One of the best composers going imo. To be honest two Newman films in a row had pretty much destroyed my expectations music wise but with Zimmer doing it I'm excited about a Bond score for the first time in ages.

    Beyonce seems like a bit of a naff choice for the theme though imo. I was hoping that Craig would be able to use his clout to get someone cooler (he wanted Radiohead last time). Beyonce would be another Adele/Smith. Bland safe poppy choice. Bit boring.

    I don't know why they don't just throw money at Arctic Monkeys until they say yes. We haven't had a rock theme for ages. They're insanely creative and versatile (why do you think they've outlived pretty much all the other indie bands from that era?). And they're big enough to still get the song in the charts, maybe have a chance at that best song Oscar, etc. They have big commercial appeal, are actually a cool and interesting band, and Alex Turner did some very Bond sounding stuff on the first Last Shadow Puppets album. Bet Craig loves them too. Seriously how has this not happened yet they'd literally be perfect.

    I'm on your page but I think a rock themed song is off the cards and given Lipa and Sheeran were a possibility I'll take Beyonce.

    Though yes Turner would smack it out the park and imagine Craig would be a fan knowing he is one of Radiohead.

    Though in the 90s Portishead, Massive Attack, Pulp just to name a few passed over, these artists would have nailed it but they went for much safer choices instead.

    Lets just hope we don't get anything as insipid as the last theme.

  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    He's great at coming up with melodies and weaving them through the film (Batman)
    Sorry what is this great Batman melody of which you mention? Can you hum it for me please..?
  • Not melodic, but definitely rhythmic which is where scores have veered more towards.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    HASEROT wrote: »
    Eiragorn wrote: »
    Btw, this video is quite interesting regarding the RCP method for soundtracks:

    The Lion King sequel was only direct-to-video so Zimmer relegated one of his minions to the soundtrack. Against all odds the film turned out to be quite good since it incorporated much material that was originally created for the predecessor. Some cues were so good Zimmer reused them for the Gladiator soundtrack under his own name. The Pirates soundtrack again was not important enough to be overseen by Zimmer directly so he appointed the inexperienced Badelt who in turn perfected the very same cue into the well known theme. Due to its success Zimmer took over for the sequels and – as apparent in this thread – achieved to be associated with its soundtrack as a whole. This alone I find despictable.

    When it comes to Zimmer's original material it's true that it dictates the action soundtrack style in general; it's bombastic without ever drawing attention to itself – equal to trailer music or YouTube autoScore. In fact I find the utter lack of melody as well as any dynamic highly depressing. No wonder Elfman's sinister Batman march still is the character's leitmotif in place of TDK's unmelodic droning. In essence Zimmer's usage of an orchestra mostly equals the subtlety of one very expensive ship's horn.

    Still he is highly successful since his scores work adequately for the audience and are always delivered on-time and in-budget due to this questionable workshopping process. Plus he understands to stay in the conversation as shown in the video above...

    i think for me - the reason i just don't really care for Zimmer's work is just that is has no replay value.. it works fine in the movies, and THAT IS the most important part obviously.. i dont want shit music in the movie - but man does it sound awesome on my home stereo lol... it's function is to serve the film, and as long as it does that - fine.. but beyond that, just judging the music alone by itself, there just isn't anything that stands out.. now he does have the exceptions like Lion King, Inception, Pirates.. but using the Batman Begins / TDK and TDKR soundtracks as an example - the music just isn't that unique, or memorable - nothing leaps out and sticks with you (at least for me it doesn't) - now compare that to Elfman's or Goldenthal's scores from Batman, Batman Returns, Batman Forever.. from a musical arrangement standpoint, i find those scores vastly superior..

    Agreed. They all sound like trailer music to me.
  • MinionMinion Don't Hassle the Bond
    edited January 11 Posts: 833
    Satorious wrote: »
    He's great at coming up with melodies and weaving them through the film (Batman)
    Sorry what is this great Batman melody of which you mention? Can you hum it for me please..?

    I would guess @thelivingroyale is referring to this, which didn't even take me a second to recall.
  • TripAcesTripAces Universal Exports
    edited January 11 Posts: 3,931
    Getafix wrote: »
    antovolk wrote: »
    HASEROT wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    TLD is another Bond film where the weaving of songs into the score was really beneficial. We were lucky with 3 very Good songs. 'A-ha's 'The Living Daylights', The Pretenders' 'Where has everybody gone?' & 'If there was a man'.....and look how beautiful that score turned out to be....coz Barry was so nifty with his approach. 3 very good songs in one Bond film...what a way for Barry to leave the Bond franchise....Epic!....that's how to successfully score a Bond film. I've seen many Non-Bond fans who like TLD's score....it's that infectious.

    It’s pretty fantastic, it’s true.
    HASEROT wrote: »
    In one of the James Bond & Friends podcast episodes Bill Koenig brought up an excellent point of how EON's approach to title song and score had changed by 1997. Originally they approached John Barry to score, however one of the big issues that resulted in him not wanting to return was that they didn't guarantee him producing the title song like he did in the past. And as we saw, they ultimately rejected the k.d. Lang song that David Arnold actually produced. That's what John Barry didn't want to deal with, and why he never came back. After the issues that came about with A-Ha, EON seems to have become content to allow the artists the option of total creative control over the song as a way of enticing them for the gig. This would shut out composers from the process, with the three notable exceptions being "Surrender", TWINE, and YKMN.

    thats EON "Chasing the Dragon" as it were - they now seem to consistently want that chart topping song as well... it seemed like after they struck gold with Sheena Easton with "For Your Eyes Only" and Duran Duran with "A View To A Kill" they now view that as a priority..

    I think as a publicity tool it’s undeniably a great asset. I don’t think there’s anything wrong with that: it’s not as if the songs haven’t been put into the charts right from Barry’s version of the James Bond Theme.

    oh i personally dont really care one way or the other lol - i'm just calling it what it is..

    if they want to chase the top spot on the Billboard 100, hey go for it... i would just like to hear the song worked into the score more than it has been in recent films, thats all i am saying.

    As I mentioned in the title song speculation thread, if the current speculation that Beyonce got it is correct, it may actually help with that very thing as her and Hans Zimmer have worked together just recently on The Lion King. Could bring back a level of composer involvement with the title song not seen since the Barry days.

    Sounds good to me!

    Not super keen on Beyonce. And is it really wise after she did an Austin Powers movie?

    It seems incredible now that A-ha were so resistant to collaborating with John Barry. It suggests incredible ignorance and immaturity on their part (although I love their song - both versions actually).

    So many artists would have jumped at the chance to work with Barry. And I think these days A-ha are a bit more respectful of the Barry version.

    I can see that EON probably value a hit song over weaving it into the score. The success of Adele's SF undoubtedly contributed significantly to the success of that film.

    But it's obviously not totally unimportant to them as they did still ask Newman to include it in his score.

    So there's a slight contradiction there to the notion that EON simply don't care.

    As someone pointed out above as well, Arnold did it twice - on TWINE and CR - in recent times. And almost managed to do it on TND. So the idea
    of combining song and score is clearly not dead.

    The difference is that Arnold is a known collaborator with a respected track record of working with other artists and performers on their songs. And Newman isn't.




    Oh, snap!

    http://petergabriel.com/news/grammy-nominations-for-peter-gabriel-thomas-newman/
    http://petergabriel.com/news/oscar-nomination-for-down-to-earth/

    cc156352031d428abb9d515823a030b4.jpg



  • edited January 11 Posts: 12,292
    Shardlake wrote: »
    How did I miss this? Don't know what happened with Romer (EON overruling Fugunaka?) but replacing him with Hans Zimmer. What a turn up. He's great at coming up with melodies and weaving them through the film (Sherlock Holmes, Batman) and he can do some really cool out there stuff (the ticking clock thing for Dunkirk). One of the best composers going imo. To be honest two Newman films in a row had pretty much destroyed my expectations music wise but with Zimmer doing it I'm excited about a Bond score for the first time in ages.

    Beyonce seems like a bit of a naff choice for the theme though imo. I was hoping that Craig would be able to use his clout to get someone cooler (he wanted Radiohead last time). Beyonce would be another Adele/Smith. Bland safe poppy choice. Bit boring.

    I don't know why they don't just throw money at Arctic Monkeys until they say yes. We haven't had a rock theme for ages. They're insanely creative and versatile (why do you think they've outlived pretty much all the other indie bands from that era?). And they're big enough to still get the song in the charts, maybe have a chance at that best song Oscar, etc. They have big commercial appeal, are actually a cool and interesting band, and Alex Turner did some very Bond sounding stuff on the first Last Shadow Puppets album. Bet Craig loves them too. Seriously how has this not happened yet they'd literally be perfect.

    I'm on your page but I think a rock themed song is off the cards and given Lipa and Sheeran were a possibility I'll take Beyonce.

    Though yes Turner would smack it out the park and imagine Craig would be a fan knowing he is one of Radiohead.

    Though in the 90s Portishead, Massive Attack, Pulp just to name a few passed over, these artists would have nailed it but they went for much safer choices instead.

    Lets just hope we don't get anything as insipid as the last theme.

    True, the Craig era is probably still above Brosnan in terms of theme songs for YKMN alone. I like TWINE to be fair and obviously GE's is decent but yeah, as much as I'll always defend that era, the theme songs did strike me as a missed opportunity.

    Pulp actually recorded something for TND I think but it was rejected. Seems weird that they never capitalised on the Britpop thing. Brosnan was pretty much the Britpop Bond. Big, loud, crowd pleasing movies, not the most groundbreaking/innovative, but enough swagger to paper over the cracks. Pulp would have probably been the best choice over some of the more famous bands. Bit more arty and better suited to Bond. To be fair though while either of their bands would have probably been too lairy I reckon Noel Gallagher or Richard Ashcroft could have knocked up a decent ballad.

    I'd take the Brosnan themes (DAD aside) over some of Moore's though. Controversial opinion maybe and yeah, LALD is probably the best Bond theme, Nobody Does It Better is good and A View To a Kill is a tune. But overall I reckon that's my least favourite era for theme songs. TMWTGG I think is dire, Bassey's MR is overrated and probably her worst, and FYEO and All Time High make me feel like falling asleep. As terrible as some of the Brosnan/Craig ones are, at least none of them are as bloody boring as those two.
  • Posts: 11,425
    Shardlake wrote: »
    How did I miss this? Don't know what happened with Romer (EON overruling Fugunaka?) but replacing him with Hans Zimmer. What a turn up. He's great at coming up with melodies and weaving them through the film (Sherlock Holmes, Batman) and he can do some really cool out there stuff (the ticking clock thing for Dunkirk). One of the best composers going imo. To be honest two Newman films in a row had pretty much destroyed my expectations music wise but with Zimmer doing it I'm excited about a Bond score for the first time in ages.

    Beyonce seems like a bit of a naff choice for the theme though imo. I was hoping that Craig would be able to use his clout to get someone cooler (he wanted Radiohead last time). Beyonce would be another Adele/Smith. Bland safe poppy choice. Bit boring.

    I don't know why they don't just throw money at Arctic Monkeys until they say yes. We haven't had a rock theme for ages. They're insanely creative and versatile (why do you think they've outlived pretty much all the other indie bands from that era?). And they're big enough to still get the song in the charts, maybe have a chance at that best song Oscar, etc. They have big commercial appeal, are actually a cool and interesting band, and Alex Turner did some very Bond sounding stuff on the first Last Shadow Puppets album. Bet Craig loves them too. Seriously how has this not happened yet they'd literally be perfect.

    I'm on your page but I think a rock themed song is off the cards and given Lipa and Sheeran were a possibility I'll take Beyonce.

    Though yes Turner would smack it out the park and imagine Craig would be a fan knowing he is one of Radiohead.

    Though in the 90s Portishead, Massive Attack, Pulp just to name a few passed over, these artists would have nailed it but they went for much safer choices instead.

    Lets just hope we don't get anything as insipid as the last theme.

    True, the Craig era is probably still above Brosnan in terms of theme songs for YKMN alone. I like TWINE to be fair and obviously GE's is decent but yeah, as much as I'll always defend that era, the theme songs did strike me as a missed opportunity.

    Pulp actually recorded something for TND I think but it was rejected. Seems weird that they never capitalised on the Britpop thing. Brosnan was pretty much the Britpop Bond. Big, loud, crowd pleasing movies, not the most groundbreaking/innovative, but enough swagger to paper over the cracks. Pulp would have probably been the best choice over some of the more famous bands. Bit more arty and better suited to Bond. To be fair though while either of their bands would have probably been too lairy I reckon Noel Gallagher or Richard Ashcroft could have knocked up a decent ballad.

    I'd take the Brosnan themes (DAD aside) over some of Moore's though. Controversial opinion maybe and yeah, LALD is probably the best Bond theme, Nobody Does It Better is good and A View To a Kill is a tune. But overall I reckon that's my least favourite era for theme songs. TMWTGG I think is dire, Bassey's MR is overrated and probably her worst, and FYEO and All Time High make me feel like falling asleep. As terrible as some of the Brosnan/Craig ones are, at least none of them are as bloody boring as those two.

    They should have asked Portishead (huge John Barry fans), Goldfrapp or even Massive Attack as well. A lot of missed opportunities in that era, and not just in the music department.
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