as the title says whats the consensus over here on Hans Zimmer scoring the film ?I’m not particularly happy as I was hoping for Arnolds return
We don´t deal in consensus here.
Surely best reply of the day!
I’m not even sure I’ve formed a consensus with myself on Romer. There are those who expect great things from him. Then there are those who would have preferred Newman coming back. And of course Arnold.
Others have a far better grip and understanding of scoring than I do. I guess I will just wait and see.
My consensus of one is that the apostrophe is so very terribly underrated. I am also in agreement with myself that I have not really heard of the gentleman concerned and therefore will wait and hear.
I’m on record saying I’ve cringed many times over the years when new composers have been announced, some for good reasons. I’m with Arbogast777 though, I’ll wait until I hear some music. I just hope they have a Michael Giacchino in their back pocket (ala Rouge One) just in case.
I’m fine with it. The sound needs to be shaken up, so new blood is definitely welcome.
Mod note: adjusted the apostrophe quota to WTO level…
I was really hoping for David Arnold. I think he’s been away from it long enough to have new ideas and finish ones he had (the rumored “I Will Return” track.) I like how he incorporated title songs into theme when allowed (DAD and QoS being the exceptions.)
I’ve never heard Romer’s work. He seems like the guy Fukunaga always uses. That seems to be the director’s prerogative now, they find one composer they like and use him for the rest of their filmography. I’m eager to hear a new composer’s take on Bond, but more often than not I tend to be underwhelmed when it happens. That being said, I really like George Martin’s, Marvin Hamlisch’s, and even Bill Conti’s Bond soundtracks.
And it is decided:
Fitting that this production would have one (hopefully) last hurdle along the way to release.
Glad to hear Zimmer has taken over. Never heard of that no-mark Dan Romer and am more comfortable knowing a very experienced composer is tackling Craig’s swansong.
…so, is this thread officially defunct?
Couldn’t agree more
I´m a bit torn between hope and sorrow here.
Zimmer for me is hit and miss. He and his factory have established market dominance by collaborating on a particular sound, with lots of co-workers helping out or even writing for him, so every deadline can be met. The writing itself can be very simplistic, with lots of loud hammering home its sparse melodic ideas (Zimmer´s “horn of doom” has swept through the industry and become a lazy go-to moment for every scene that has to have an impact).
Let’s put it this way: John Barry is the utter opposite of Zimmer´s style. So I am sad to say that haunting, lush melodies won’t be part of this score (David Arnold at least knew how to write those, and Thomas Newman delivered on those themes as well) but lots of rhythmic fanfare, percussion and a brutal, ice cold sound.
Maybe it fits with the film, maybe it´s time to experiment with Zimmer and go beyond the Barry comfort zone. I just don’t expect too much, rather the usual Zimmer soundscape. But he will be able to deliver a killer new instrumentation of the Bond theme.
I find Zimmer tends to just do what he’s been hired to do. Compare his Man Of Steel theme to his Mi2 stuff. Difference is Snyder Vs Woo.
The thing is, Zimmer has that in spades in his older scores. The Rock is a great example of a movie with several strong orchestrated musical themes running through, as does Crimson Tide. That said, he hasn’t done anything like those in a very long time, so your point is certainly valid.
Hmm, he had strong hauntingly melancholic melodies in THE ROCK and CRIMSON TIDE?