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

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  • mtmmtm United Kingdom
    edited September 2021 Posts: 15,108
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.
  • familymottofamilymotto Spain
    edited September 2021 Posts: 24
    I'm super late to the party! Would greatly appreciate the link if someone could PM me please ^:)^ Thanks!
  • [/quote]

    I downloaded Laurent's version which he shared earlier in the thread- much appreciated, Laurent.
    ^:)^ [/quote]

    I I’ve missed this. What did he do?

  • mtmmtm United Kingdom
    edited September 2021 Posts: 15,108


    I I’ve missed this. What did he do?

    It's gone now I'm afraid.
  • No worries! I’ll be going through the remaking tracks myself then.
  • mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    Which two-note chase motif (from Newman) is that specifically, @mtm? Do you have a timestamp from a Skyfall/Spectre track to reference? I'd be curious to compare later once I've listened to NTTD.
  • I like the ominous interpretation of the Bond theme in the tracks Square Escape; Cuba Chase and Opening the Doors
  • Posts: 1,314
    I think there is a certain respect for John Barry in this score, but not necessarily in the sense that it sounds like Barry (outside of the 2 actual John Barry pieces in this) but moreso Zimmer’s interpretation of Barry. There’s the melody and romanticism, but it’s Zimmer’s style of melody and romanticism. There’s the enormous horns, but they’re Zimmer style horns, there’s the slick Bond guitar, but again, it sounds like Zimmer’s slick Inception guitar bits moreso than the twangy Barry sound. Running through it all though is that trademark Zimmer almost sound design like electronic touch that is quite aggressive and menacing in this score. I think Zimmer doing Bond in his language has given a really unique and distinct sound to this one. It’s trademark Zimmer but also doesn’t sound super “Zimmery” like his work with Nolan/DCEU. It’s very Bondian yet sounds very different from the past Bond scores.

    On another note, I’ve always found the sentiment that a Bond score needs to be built around “a melody you can hum” in order to be adequate to be kind of silly and here we quite literally have Billie humming the melody in the score!

    Brilliantly put.
  • NoTimeToLiveNoTimeToLive Jamaica
    Posts: 67
    AgentM72 wrote: »
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    Which two-note chase motif (from Newman) is that specifically, @mtm? Do you have a timestamp from a Skyfall/Spectre track to reference? I'd be curious to compare later once I've listened to NTTD.

    I'm curious too.

    Honestly I've heard a few bits here and there which reminded me of Pursuit at Port Au Prince and Backfire, but they were so short that they were probably mere coincidences.
  • TheNickofItTheNickofIt Devon
    Posts: 3
    I'm curious too.

    Honestly I've heard a few bits here and there which reminded me of Pursuit at Port Au Prince and Backfire, but they were so short that they were probably mere coincidences.

    I can definitely hear Backfire here and there, and as someone who really dislikes Newman's score for Spectre, thematically speaking I kind of appreciate the references (whether intentional or not) to it in Zimmer's score.

    The whole album is a thing of beauty. A love letter to John Barry and David Arnold, but ultimately Zimmer's love letter to Bond. He's poured his heart and soul into this.

    Can't wait to get the vinyl and to hear it in tbe film itself.
  • mtmmtm United Kingdom
    edited September 2021 Posts: 15,108
    AgentM72 wrote: »
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    Which two-note chase motif (from Newman) is that specifically, @mtm? Do you have a timestamp from a Skyfall/Spectre track to reference? I'd be curious to compare later once I've listened to NTTD.

    Well pretty much the main thing you hear playing in the Rome chase: from around 12 seconds in Backfire. Compare to 4.35 in Cuba Chase (the early part of Cuba Chase is based around that and built from it). They're two notes I think from the kind of callback part of the bebop section of the Bond theme, they have Bond-ish resonance.
  • Having spent a good 24 hours with the soundtrack, I wanted to give my thoughts on it. It is an extremely dark soundtrack which I feel has some significant emotional weight. When it's in the context of the film, I think it will really add up to something memorable.

    In terms of listenability, I apply some simplistic tests.
    Can I iron my work shirts to it? - yes.
    Will it make me drive a good 20 mph over the speed limit with it blaring in my car? - yes. Do certain tracks give me goosebumps? - again that's a triple yes.

    I'd say my only very minor gripe, and it's really minor, is that there was a track in the trailers when Nomi was driving towards the military plane and I loved that cue. Now it's either composed by someone for the trailer or it's not made it onto the soundtrack, but I really loved that.

    As others have said it really evokes other Craig films. I love the Cuba Chase and it's got a David Arnold Quantum vibe, which I like. Then there's What Have you done? - which is almost Live and Let Die with a hint of something more sinister, it's such great fan service.

    That it could be Arnold, Barry, or even Newman - is for me the secret sauce of this soundtrack when taken as a whole.

    Norway Chase has these little tinkles, that to me is pure OHMSS but it's intermixed with these dark repetitious drones. Sure there are odd bits of Dark Knight Rises - Rise, but on the whole, Zimmer seems to have really tapped into the magic without going too far into the unknown. And, it all moves along at such a frenetic rate but not at the cost of melody. It's pure suspense and threat and I think maybe that feeling of real danger has been missing for a bit.

    I think my standout favourite track is The Factory - it's got the ever-present danger and then 4 mins in it goes crazy.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,551
    Does anybody have the score saved on a link they can share? My streaming link expired before I was able to save.

    As stated above, considering it's a leak and hasn't officially released, we're attempting to stop any active sharing/posting of the link here at this time. The link provided last night is indeed dead and likely yanked by the higher ups since its official release date has yet to come.
  • BennyBenny In the shadowsAdministrator, Moderator
    edited September 2021 Posts: 14,899
    Any and all requests for links to the score will be deleted. Please stop requesting for a link to it. The score has not been officially released yet, so any party sharing or downloading it is doing so illegally.
  • TripAcesTripAces Universal Exports
    edited September 2021 Posts: 4,554
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    The final track sounds a lot like Zimmer's work on The Thin Red Line ("Journey to the Line.") This isn't a complaint, just an observation.

    I have to admit, I really like hearing some old, familiar tracks infused into this soundtrack, even picked up on some Goldfinger vibes in "What Have You Done?" What is missing is a sweeping, gorgeous theme for the female lead(s). Arnold and Newman had this: Solange, Vesper, Severine, Donna Lucia, Madeleine. Each is epic.

    Also, I am fairly certain that some of these tracks are out of order. I also think that this soundtrack is incomplete: we'll find that there are several tracks in the film that were not included here.
  • CJB007FRCJB007FR Paris, France
    Posts: 13

    I downloaded Laurent's version which he shared earlier in the thread- much appreciated, Laurent.
    ^:)^ [/quote]

    I I’ve missed this. What did he do?

    [/quote]

    I could not let the link for hours... glad some of them caught it ;-)
  • edited September 2021 Posts: 65
    Love the Goldeneye esq male choir in Norway Chase.

    Also for some reason the slow version of OHMSS titles that plays in Good to have you back really puts me in mind of Barry’s arrangements for The Living Daylights.

    Specially the “where has everybody gone” melody in the track Afghanistan Plane.
  • mtmmtm United Kingdom
    Posts: 15,108
    TripAces wrote: »
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    The final track sounds a lot like Zimmer's work on The Thin Red Line ("Journey to the Line.") This isn't a complaint, just an observation.

    I have to admit, I really like hearing some old, familiar tracks infused into this soundtrack, even picked up on some Goldfinger vibes in "What Have You Done?" What is missing is a sweeping, gorgeous theme for the female lead(s). Arnold and Newman had this: Solange, Vesper, Severine, Donna Lucia, Madeleine. Each is epic.

    Also, I am fairly certain that some of these tracks are out of order. I also think that this soundtrack is incomplete: we'll find that there are several tracks in the film that were not included here.

    Yeah the Eilish track seems to be a theme for Bond & Madeline’s relationship..?
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    mtm wrote: »
    TripAces wrote: »
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    The final track sounds a lot like Zimmer's work on The Thin Red Line ("Journey to the Line.") This isn't a complaint, just an observation.

    I have to admit, I really like hearing some old, familiar tracks infused into this soundtrack, even picked up on some Goldfinger vibes in "What Have You Done?" What is missing is a sweeping, gorgeous theme for the female lead(s). Arnold and Newman had this: Solange, Vesper, Severine, Donna Lucia, Madeleine. Each is epic.

    Also, I am fairly certain that some of these tracks are out of order. I also think that this soundtrack is incomplete: we'll find that there are several tracks in the film that were not included here.

    Yeah the Eilish track seems to be a theme for Bond & Madeline’s relationship..?

    Definitely yes.

    I can’t get over how good Final Ascent is.
  • HeinsenbergHeinsenberg France
    edited September 2021 Posts: 48
    Interesting to notice that the music has been changed in the movie. The excerpt from the bridge jump that we saw corresponds to the beginning of "Message from an old friend". But the part at 1:15 has been replaced by some sort of siren.
  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    The film will feature a lot of Zimmer music that is not on the CD. It happens all the time.
  • HeinsenbergHeinsenberg France
    Posts: 48
    Yes I know, but in this case I think it's an alternate version of the same track.
  • mtmmtm United Kingdom
    Posts: 15,108
    Interesting to notice that the music has been changed in the movie. The excerpt from the bridge jump that we saw corresponds to the beginning of "Message from an old friend". But the part at 1:15 has been replaced by some sort of siren.

    That's a good spot.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,049
    Yes I know, but in this case I think it's an alternate version of the same track.

    Yeah it's definitely an alternative version. I'd say the sessions will be fun to listen to for these kinds of things. Zimmer does a lot of that.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,551
    For those who heard the score, which songs were evocative of Serra's GE work? I heard this mentioned once or twice and it has me quite excited.
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    matt_u wrote: »
    The film will feature a lot of Zimmer music that is not on the CD. It happens all the time.

    True. But I think all of Newman's music for SF and SP was on the OSTs, so now I am a little spoiled.
  • familymottofamilymotto Spain
    edited September 2021 Posts: 24
    Love how Zimmer has brought in the male choir. Reminds me of Crimson Tide.
  • Posts: 514
    matt_u wrote: »
    mtm wrote: »
    TripAces wrote: »
    mtm wrote: »
    Like in most Zimmer scores, the rhythm takes the lead but I definitely wouldn't call it melody-free.

    There's the song theme, but that's about it for regularly-occurring tunes, isn't it? Even the Bond theme is used more as a motif than a melody. There are melodies written by Barry, Eilish, Norman but not much by Zimmer that I could spot. Oddly Cuba Chase even seems to be based on the two-note chase motif which Newman came up with! As well as his gunbarrel of course (itself an adaptation of Arnold's one).
    It's an odd, hand-me-down score.

    The final track sounds a lot like Zimmer's work on The Thin Red Line ("Journey to the Line.") This isn't a complaint, just an observation.

    I have to admit, I really like hearing some old, familiar tracks infused into this soundtrack, even picked up on some Goldfinger vibes in "What Have You Done?" What is missing is a sweeping, gorgeous theme for the female lead(s). Arnold and Newman had this: Solange, Vesper, Severine, Donna Lucia, Madeleine. Each is epic.

    Also, I am fairly certain that some of these tracks are out of order. I also think that this soundtrack is incomplete: we'll find that there are several tracks in the film that were not included here.

    Yeah the Eilish track seems to be a theme for Bond & Madeline’s relationship..?

    Definitely yes.

    I can’t get over how good Final Ascent is.
    The way the last ~minute builds up and up and up — only to not resolve. So good.
  • silva13silva13 Australia
    Posts: 198
    Creasy47 wrote: »
    For those who heard the score, which songs were evocative of Serra's GE work? I heard this mentioned once or twice and it has me quite excited.

    I found the Norway chase to echo it a bit in places. The score has something for everyone.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,551
    silva13 wrote: »
    Creasy47 wrote: »
    For those who heard the score, which songs were evocative of Serra's GE work? I heard this mentioned once or twice and it has me quite excited.

    I found the Norway chase to echo it a bit in places. The score has something for everyone.

    That's the vibe I've been getting from the comments. I'm very excited.
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