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I can't imagine Arnold ever actually approaching a Bond score like this. It makes me so thankful we got Zimmer even if this turns out to just be a one-shot guest role.
Regardless, if you distinguish more Newman (or even Zimmer himself) in this score, you must be equally as happy as those that hear Arnold. For once it's a score that pleases both camps.
That's what I thought it was in the trailer.
Ohhh dear! Now I AM getting very excited to see this. \:D/
And I am wondering now whether the film will end like the book - amnesia ridden Bond sailing off somewhere, not knowing who he is. This would wrap up the Craig era nicely, CR as its birth, YOLT as its death, and kick start the new actor with the next film, and the opening to TMWTGG.
I agree with most of this, but not sure if I'd want the next actor to pick up Craig's continuity at all. I think it should remain in its own separate plane, and a Connery-Brosnan style just having Bond doing his thing would be cool. I have to admit though, seeing Bond try to kill M at the start at B26 would be a pretty cool cinematic moment if pulled off right. I'm just right now hoping they don't do what concerns me most potentially and definitively kill Bond.
It's not exactly packed full of Bond theme either- I'd say Spectre had more. I always worry about that: I think a casual buyer picking up a Bond soundtrack probably wants the Bond theme on there.
I'm sure it'll work really well in the film, but on first listen it's fairly generic stuff and I'll take Newman's more atmospheric, original take on the Bond sound over this. Still, nice to have Zimmer's take and, as I say, it'll work well in the film I'm sure.
It would be even more interesting to reboot with the next actor, but use the opening of TMWTGG as our introduction to the new Bond. The new Bond then has to relearn who he is and by the end when he’s offered knighthood he turns it down because he’s better off as just James Bond, the civil servant. Thus you’ve kicked off a new era of Bond. Might as well title it Licence Renewed, but no need to use the Gardner story.
'Matera' is the only one that sounds Arnold-ish to me, because it's doing that sort of slightly bland 'pretty, lush music' thing and almost sounds like a rework of the Venice arrival music from CR (you can really feel them temp tracking this sequence with that music), which itself was the closest Arnold got to a Barry homage. Other than that, yeah; I'm not getting Arnold comparisons.
One of the tracks (I forget which) actually ends on a very Barry-style single, held, resolving note though. I haven't heard that in a while! :)
I think I can feel that this score is really designed to work with the film, which sounds obvious(!), but for me this really does feel like half the experience and I didn't massively enjoy listening. Other than the Eilish track being peppered through (and I do think that's brilliant: I can imagine her fans loving this movie for that and that can't be a bad thing) there's nothing massively thematic going on here. It's very energetic and bombastic though, and that's what Bond needs so that's all good.
I'm surprised at all the praise considering that Newman's score got criticised for not featured the Bond theme enough, and as far as I can tell there's possibly even less of it here.
Hi Laurent! Many thanks :)
Begins with Bond making what looks like an ultimate sacrifice. No apparent way out. Eventually a transition to Madeleine and Mathilde in the car. In the final minute or so, we see somehow Bond alive, on some island, with someone asking him his name, when the film cuts to black with the Bond theme playing
As I already pointed out months ago, and I'm speculating basing it on nothing, I believe Swann will find out Bond is indeed alive in Matera, perhaps seeing the DB5 parked in front of their honeymoon retreat. Something like that.
There's no way they won't hint at Bond being indeed alive. The movie is called No Time to Die, for Christ sake! :D
Was it ever officially confirmed to be titled Shatterhand? Even Barbara Broccoli outright confirmed Shatterhand wasn't the title.
I tend to think if it does they should put it on the CD, even if it's not an original piece. I remember as a kid liking the scores where you would get a full statement of the theme somewhere- I think if you buy a James Bond CD you want the James Bond theme on it. At least this one has the song on it: imagine buying a CD called 'Skyfall' and not getting Skyfall on it! :)
I found the track: listen to the very end of 15. Gearing Up - it ends on a John Barry note straight from one of his 80s films :D It's not a great Barry homage (it's one note!) but it was funny to hear it.
I don't know if they'd use the end of YOLT's amnesia and TMWTGG original opener due to Jason Bourne having already been there and done it before. Sure, Robert Ludlum borrowed heavily from Fleming with the amnesia, revenge and loss of identity plot, but will the average cinemagoer with limited knowledge of the orginal books just think the producers are copying Jason Bourne, rather than the other way round? I'm not going to totally rule it out, though, as you never know.
It does appear that the producers are taking unused elements of Fleming's YOLT book and incorporating them into NTTD, especially with the garden of death and this ambiguous young child that's been carefully omitted from all the movie's publicity. Clearly the comment from Christoph Waltz as Blofeld where he says: "When her secret finds its way out, it would be the death of you" is a reference to a big reveal moment. My guess is that it's Bond's undisclosed daughter. Some here might scream that this is a spoiler, but I'd argue speculation isn't a spoiler as it's not based on anything tangible, it's just a hunch.
When we're talking about how the film might end I think it might be one for the spoiler tags or a spoiler thread please. Everyone else is using them: even in speculation little hints of plot which others may not know come out e.g. 'seeing as we know the film ends in x location, maybe that means...' etc.
Don't imply people can't think because they ask not to have spoilers in a music thread, there's just no need for that.
Anyway, for us thinkers it seems the link is down?
Yes it's good not to know it off by heart. I remember watching TWINE for the first time in the cinema and knowing exactly when Bond would appear in Davidov's car boot because I knew the track from the score so well already and it had a bit where the Bond theme kicked in there! :)
Could've fooled me. That's exactly what you're demanding. We're not allowed to give our own impressions or opinions on something unless we conform to hiding them behind a blank wall just in case of what exactly? For the last and final time, it's conjecture!! Conjecture isn't based on information that's known or proven to be true. It's a supposition.
You really need to calm down on this: there's no need to be talking about whether someone is 'sane' or 'level-headed' or accusing them of being unable to think. If you're taking my post (where I asked using 'please' and apologised if I was wrong) as a 'demand' then you're being way too hot-headed: insulting someone in various ways for them asking that in a polite way is not an appropriate response. Take a few minutes offline and have a breather, I'm not really interested in talking about this with you further: I'd rather just talk about the music. Thanks.