What attracts producers to Zimmer´s company is not only the success he had in scoring multiple blockbusters and making himself a brand name that is known to a world wide audience (apart from John Williams no contemporary film composer has managed that).
It mostly is that by aligning himself with many collaborators under the roof of his company, they can always deliver extremely fast, which is especially helpful in those last minute-score replacement-situations which have become so common.
Sure, other composers might be capable to deliver fantastic scores, too - but no one can work faster because not just one composer (Zimmer) will get to work, but at least one or even two others, with more people in the company helping out. That is a major selling point for Zimmer, and this will always make him the number one choice.
I gave Lorne Balfa’s “Mission Impossible: Fallout” a listen and definitely noticed Zimmer’s influence and style this time. But I can see it working in a Bond film. Hopefully, there’s a memorable villain motif in the soundtrack.
I wonder if there will be any callbacks to Dr. No?
What Billie Eilish has done , along with all the self generating press , more importantly the way EON have filtered this , have created a buzz that is in the UK at least getting people talking about Bond like never before , example , my DJ who is primarily a radio DJ and red carpet interviewer would not in the 10 years I’ve known her ever mention Bond to me unless it was to take the P out of my love for it , now it’s a constant dialogue about Bond , this could be a bit of a water cooler Bond
There’s a story in my local paper today, about three guys from my area who work at Abbey Road Studios. The reporter toured the studio with one of them and “…the door to Studio 2 is slightly ajar and one can hear some music from inside. One can’t help but immediately think of a certain movie that’ll be in cinemas in April - but I’m not allowed to say more…”
It’s out of the question which movie he’s talking about. Which means that they’re already recording, and that Zimmer is definitely going to deliver some Bond music, when a reporter from a small German local paper is able to identify it as such, just from hearing a few notes.
Let see how good it going to be, I hope it will NOT be scores that will fit more into a realistic spy thriller than a Bond movie. IF Han Zimmer needs to learn from the past or use as a reference guide to what he do. I say these Bond soundtracks would be the ones
Thunderball
For Your Eyes Only
The Living Daylights
Goldeney
Tomorrow Never Dies
Skyfall
Spectre
Hopefully there might be a leak/sample of the score near the release of the Soundtrack on CD.
I would also add The Spy Who Loved Me and Live and Let Die to that list. Both did a great job of taking us to the fillms’ locales while also being of their time. I find GoldenEye and Spectre somewhat lacking in those departments. TND’s “Backseat Driver” was a good incorporation of 90s techno with Bondian orchestration.
For Barry, I’m surprised YOLT and OHMSS weren’t included.
I’m hoping he’s a fan of Barry’s OHMSS theme; that he heard it in the SP trailer, got excited and then peeved that it wasn’t in the movie. And that now he’s aiming to correct that… I can dream, can’t i
Yes, you can dream, on the otherhand… it would be even cooler if he made a new theme which is as great and cool as the OHMSS theme (if that’s possible ofcourse).
