I don’t hear a different strategy in these scores. While I liked the main theme in MOS the rest was merely hyperactivity, for my ears.
Okay, I’ll admit I keyed off of your use of ‘melodies’ more so than your descriptives of ‘haunting and melancholic’. I would say his score to True Romance had aspects of that. My point was (and is not a genuine counter to your argument, as you pointed out) that Zimmer had a strong sense of melody at one time; he has seemingly lost that in recent years in order to create his droning scores and bombast that create tension, but lack any memorable melodies.
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If it’s actually Hans Zimmer, great, but there’ll likely be a lot of other people on it.
As long as the score doesn’t drown the film like Lorne Balfe’s for Mission Impossible Fallout, that was wall to wall gloom and doom.
I have to disagree, I thought that Fallout’s soundtrack was excellent and that it fit the mood of the film. I really enjoyed that Balfe used not just the main M:I theme, but the Plot theme as well and deftly interwove them both throughout the film. I’m actually hoping that Balfe is involved as well as Zimmer, if we can get that quality of soundtrack.
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I also enjoyed Fallout’s score. I loved how it prominently featured the various themes from the show. That was actually my biggest fear with Zimmer; I can’t immediately see him utilizing the Bond themes that liberally, though I hope I’m wrong.
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I would have been more excited about a David Arnold return, but this seems better than Romer. Zimmer is a big name in film scoring and I enjoy most of his work, especially the earlier scores. Dark Knight was fantastic. I like most of his scores, though his name didn’t readily come to mind as a Bond composer candidate. Maybe Lorne Balfe gets to contribute some tracks.
As he did for Mi2, maybe Hans will incorporate some local flavor in the soundtrack, like we had in FYEO, LTK and Skyfall. The best Bond soundtracks not only have strong themes, but take viewers and listeners to the locale as well.
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Been mulling about this since the news broke. Mr. Zimmer has done some amazing work, but he’s also done some that I’m not to crazy about. I’ll call this a plus for now and reserve final judgement for the release of the film/soundtrack.
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I personally find it fascinating listening to Hans describe the thinking behind the musical choices (Joker and Bane, to name a few). His Wonder Woman theme is absolutely fantastic and I daresay a modern classic already.
I’m looking forward to his take on the action scenes the most. I think we’ve been wanting the action side of things boosted for a while. I won’t be surprised if he’s mandated to use Arnold’s ‘The Name’s Bond, James Bond’ recording at some point. His own version of the theme is what I’m eager to hear. I’ve imagined what that would be like for years.
The Jamaica content is ripe for something atmospheric and exotic.
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- Hans down the best choice
- Hans raised in absolute horror
- BRAHMS!BrahmsBrahmsBRAHMSBRAHMSBRAHMStinkletinkleBRAHMS!
- No real opinion; I just wanted to say hello
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The missing option being “I will decide when I see the film, if only because this is the one sane option in this very silly list”.
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He and his factory are the McDonalds of film scores - hopefully it will be fine, expecting more of the usual Zimmer sound. Hopefully he has been itching to do a Bond score for a long time and will be inspired to do something great.
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Wasn’t that theme composed by Junkle XL (Tom Holkenborg) though?
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Hans has a major reputation in the industry for sure.
I think the important thing for us is whether he is excited about it and strive to deliver a fine piece of work - or - if for him it’s just another one to add to his pin board.
I hope he can keep the tradition of the sound of Bond like Barry and Arnold.
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To any worried about additional composers; Michael Price
It is a consequence of studio mandated release dates, the shorter the post production time, the more chance an additional composer will be required. The other option is reusing music (oh, hi Spectre) Bond is a rarity in being a large film with only (at least credited) usage of an additional composer.
On to Zimmer
These would be some of my favourite tracks of his;
And the best - 1:50 to 3:30, the only time his Batman hero theme for The Dark Knight Trilogy is played in full
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I have listened to all those tracks before, but never with Bond in mind while doing so. The Supermarine track from Dunkirk, or one in a similar style could fit the action sequences from Matera. Imagine something like that sprinkled with the Bond theme in it. Very interesting to think about.
Not hearing anything memorable there, really. Zimmer’s stuff usually does the job of supporting the on-screen action, but I’ve never been able to call up any of his compositions in my mind afterward, or been inspired to buy the soundtrack albums.
This development is easily the least exciting so far for me, given that I’m already more interested in NTTD than any other Craig entry to date. I’m sure it’ll be a serviceable score, but I’m not expecting more than that.
It may be that film music in general underwent a certain transformation away from the memorable tunes in recent years. I too rarely have the desire to listen to a modern soundtrack the way I used to Barry’s or William’s works. I seldom even notice the music these days.
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Is there a currently working composer you find memorable? John Williams is mostly retired at this point, and I can’t really think of any composer now that uses the older method of heavy motif usage. Even Bond films havn’t really done it since ‘06
Michael Giacchino!
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Yeah, there’s man very worthy of his rep
If we wait 18 months, we can compare him to Zimmer more directly, Bat theme to Bat theme.
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Desplat, Silvestri, Powell… there are many. But the fashion, also established by Zimmer‘s factory, goes towards sound design.
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