Remember when bonus tracks were out on CDs to promote buying the new medium? Then it was downloads (Casino Royale). And now it’s back to vinyl.
Back to the music, the score is growing on me. Norway Chase is stuck in my mind. Also, Final Ascent is beautiful. Well done, Hanz.
Also loved the music they used for the final credits. Fit perfectly. Always bugged me the way OHMSS went straight into the brash Bond theme after its ending. NTTD handles that much better.
This Zimmer score is growing on me. I play it everyday during my commute. He’s got the right combo of David Arnold and Thomas Newman to send off Craig in his finale. While he lacks Barry’s melodicism, he does capture the locales and Fleming’s eeriness in the garden of death.
Other than the James Bond theme, has any composer quoted previous themes as much? Also heard a tad of Skyfall in one cue.
I’ve listened to the score on my commute every day, and the sound is very familiar to me now. It’s amazing listening to some of Zimmer’s scores for the first time, and thinking they’re only serviceable. But not long after I nearly always find myself thinking how much he nailed it. Booming short notes in action and tender piano for emotion: he has a formula and it’s still working for him.
I enjoyed Zimmer’s (Mazzaro’s?) score quite a bit. Does anyone know exactly where Zimmer ends and Mazzaro begins in the scoring for this movie? I know Zimmer is famous for his stable of artists who all collaborate with him under his brand for his scores, but has the degree of involvement on NTTD been revealed?
I loved Skyfall’s score by Newman. I know many had issues with it, but I personally thought it was superb. I enjoyed Arnold’s scores and my only complaint was their incessant presence throughout each film; Arnold seems to detest any moments of silence. But, and it’s a BIG but, he knew how to evoke Barry like no one else.
It has been mentioned earlier in this thread that the NTTD score is like a marriage of Newman and Arnold. I would agree with this assessment to a degree, but it is all filtered through a Zimmer soundscape. I waffle between whether the inclusion of so many Barry cues from past films is genius or lazy. But since the score to OHMSS is my personal favorite of the entire series, I will choose to embrace it and be satisfied. I would welcome a return of both Fukunaga and Zimmer (et al.) again.
Rarely if ever one knows these days how much the Hans has done. He is happy to be a brand, monopolizing the score landscape.
No composer makes that call. Director and producer order him to fill silences.
Neither. It will have been a discussion between EON and Fukunaga to use WHATTITW and maybe Zimmer has proposed to also use the main theme of OHMSS, with references to Arnold and Newman being only fitting since NTTD is the culmination of what came before.
If Zimmer scores the next one with older melodies, however,…
My white vinyl arrived today, as did two of the picture discs.
Noticed that Decca apparently seems to play some things on the cheap side. Not that I really mind, it’s just… well, thinking about what one pays for these (the white one alone cost me almost 50), I’d like my things to be well produced.
The copyright notes for the picture discs (which naturally have less content than the double albums) are the same as the one for the double albums. Which mean that they are plain wrong at times (and also refer to tracks which aren’t on the release at all). When it says that Track B3 contains parts of the OHMSS theme, I’m happy that I have my double album and know that they mean “Good to have you back” - which is Track B2 on the picture disc…
Also, the sleeves for the gold and the white one are absolutely identical, but the white one has a sticker with the correct barcode and catalog number on the back (a cheap one). The spine has the wrong number, the one for the gold version.
The “dealer exclusive” versions… the white one was supposed to be a “HMV exclusive” - but apparently for the UK only. In France, the promote it as “FNAC exclusive” - and I bought mine at neither place.
The picture disc with the 007 logo was said to be a “Sound of Vinyl” exclusive, and my vinyl dealer told me to look for that one elsewhere as he couldn’t get it for me. Told him then I’d make a pass on it and that he should get me just the other two. Parcel arrived this week, and what was in it? The one with Craig / Safin and the one with the logo
My white version has another back sleeve than the standard version, namely it’s white whithout the picture of Craig. It looks a little cheap, it almost looks like a bootleg.
The vinyl has four bonus tracks, named Q1, Q2, Q3 and Q4. I’m curious to know where these are placed in the existing track list, and what names could be applied to each.
I like the fact that MGM also put the entire incidental music on Youtube - even though some of them were only audible for seconds. I can’t, for the life of me, remember were Louis Attaque’s “J’t’emmène au vent” was in the movie (I should have noticed), but it’s on the list. Gotta pay more attention next time.
I really like Zimmer’s score for the movie, but right now I’m thinking he should remain a standalone Bond composer so his unique and masculine statements of the Bond Theme remain unique to Craig’s finale. I wouldn’t want those renditions repeated in a reboot. He could always switch things up, but I feel like he’s given exactly the type of score I thought he would, and with that I’m satisfied.
After viewing #2, my stance on the score has definitely softened. I love all the motifs from previous films. This being my favorite track. Good To Have You Back - YouTube
Though, I do lament that it isn’t that original. I was never super onboard with Zimmer scoring it and, granted he didn’t really develop the music, it’s just another unoriginal Zimmer entry.
It calls back to OHMSS because M, like Blofeld but for different reasons, has created a bio weapon that is now a threat to the world. But Blofeld has stolen it , used it
and Safin stole it from him and will use use it on a global scale, and not just for ransom. It’s not just that Bond is back, but that the villains and heroes from OHMSS have been inverted. It’s a genius call back. The villains and heroes are hard to tell apart these days
That’s right, I remember now. I think it’s just the livestock thing in the book, but I could be wrong. Guess I now have an excuse to read it again (which is fine as OHMSS is my favorite Bond novel).
I don’t think there’s much music missing from the album. One of the few pieces I picked out is Bond walking to Vesper’s tomb, but that seems to be about it.
