Which Arnold has denied on Twitter this morning, by the way!
For what it’s worth, someone on Zimmer’s site has pretty confidently (albeit who knows yet, as with all this, whether there’s any truth to this) thrown Benjamin Wallfisch’s name in the ring. Connecting the rumour dots between RCP, but not Zimmer (according to JBR) and not Balfe (according to MI6-HQ), Wallfisch certainly feels like the logical choice. Either him or Ramin I’d say, though I’ll be kinda surprised if EON don’t do the Blade Runner thing of having Zimmer supervise and have his name on it alongside whoever from RCP does it.
This is what I lose from not being on twitter anymore. Up to the minute info, straight from the horses mouth, but on the plus side I dont have to be yelled random strangers opinions my way, or confuse democracy with mob rule.
Ramin Djawadi would be good, especially as he’s had a long list acclaimed scores in the last 10 years.
I’m too stuck in my ways to want anything but a Barryesque sound for NTTD’s score… Even though these composers are all very talented, the Zimmer school are not what I want to hear in a Bond movie
Now, early 90s Zimmer (but with a real orchestra) would be very welcome. 2020 Zimmer, not so much.
So with all these rumors re: the composer running around, I wonder when EON will issue any official word. Next trailer? Film’s premier? When a poster with the final credits is released? Thoughts?
Yeah, would never be a separate announcement but as part of a press release/credits on something else like the next trailer or poster.
Though I suspect either Film Music Reporter (nowadays the go to dedicated outlet for this news) or IndieWire (which broke Romer, Sandgren etc) will get to it first. These sorts of stories are usually somewhat cleared with the studios, if not outright leaked by the studios…partly because this sort of stuff isn’t really announced separately by them!
For the record, Villeneuve himself broke Zimmer/Wallfisch on Blade Runner in an interview to a Quebecois paper and WB/Sony didn’t officially acknowledge until the final posters.
Soon. The PR now has three months to ramp up, and with EON promoting THE RYHTHM SECTION for late January the next phase will happen in February I believe.
I’d think they wouldn’t be that involved with marketing that, certainly not to the extent of NTTD, just offloading it all to Paramount. Ultimately it’s not their job, for Bond they just decided to take it on themselves because of the power of the brand.
I’d think early Feb is our next thing, a Super Bowl spot if not trailer 2 (that they can then run with Birds of Prey theatrically). Unless of course that Trailer C spot playing in Italy and France gets out and indeed contains new footage…
Interesting that Lorne Balfe is still liking tweets linking him to Bond. Maybe just because he approves of the idea, rather than reality, but seems he would at least have been keen if asked.
Having just had a quick look on IMDb and Wikipedia, he seems like he does an awful lot of epic scores needed quickly (additional music, soundtrack producer, last minute composer replacements)
Also has Inception, TRS and Mission Impossible on his cv - so he’d certainly be qualified.
They had removed the late, wonderful Johann Johansson from BR2049 sadly for one assumes similar reasons to Romer (though I think JJ quit when they started questioning his score) when they announced Zimmer/Wallfisch, someone else who I would have loved to see do a Bond score
I find it slightly interesting that no one (unless I missed it) has thrown Thomas Newman’s name into the hat. I’m not making that suggestion, however from a musical continuity standpoint it would make sense. But if I had a vote, it would be Lorne Balfe hands down.
From productions I’ve worked on, I’d say, before production, money is assigned specifically to cover any last minute difficulties. However, having not worked on something as big as Bond, I don’t know. As an actor, they buy your time, so if I’m asked to turn up at 3 in the morning, they have technically paid for that. As a writer, I’ve always been paid for each draft I’ve been asked for (except the BBC, who give a flat sum for the whole script, regardless of how many rewrites you were asked to do)
Only a composer can verify if they’re paid for the time period, or work turned in, both of those would just have him or her paid with would have gone to Romer for the same period, if they need more time or pieces because of the amount they need redone, that last minute difficulties fund will be designed to cover it.
The reason I asked, and again I’m just viewing things through a fan’s lens, is did they hire an orchestra to play Romer’s music with various scenes showing in the background? Like we have seen for instance on YouTube’s of David Arnold or Newman in the past? Or did they just listen to computer generated examples of the score edited with scenes on the editing bay to make their judgement?
Ah, this I do know, demo versions are created for consideration before they’re recorded. David Arnold put his pitch versions of The World Is Not Enough and I’ve Only Myself To Blame on the extended soundtrack for TWINE.
