It’s more to do with how badly soundtracks sell, so no record label wants to take the risk of trying to sell them. The Craig era gets such complete soundtracks because they’re Sony films, and Sony has their own record label. The extended soundtrack recently have been Silva Screen having a good relationship with David Arnold, then Arnold having a good relationship with EoN.
Whether NTTD gets such an in-depth release really depends on how well Universal think people will want to pay for Hans Zimmers score, the same for any scores not yet given an extended release - would people pay for Bill Conti’s FYEO or Monty Norman’s DN?
But the specialty labels (La-La-Land, Intrada) have their core audience which buys these and other expansions in large enough numbers to justify the hard work and care that is put in there.
Some of the extended soundtracks I’ve gotten were “promo only” copies often picked up at conventions, for example, LTK and a FYEO/OP combo CD. I have both the promo/bootlegs and official and re-releases of TWINE and DAD. I will always support official releases with purchasing.
Regarding Elite, TMWTGG was sub-par, but MR, FYEO, and AVTAK especially are indistinguishable from the original OST releases in terms of quality. Elite does some nice artwork too, both on the cover and CD-(R?). To be honest, I didn’t know when I ordered them if they were bootlegs or promo copies, kind of like the 2CD promo version of Skyfall that was around during its BAFTA nomination for best score.
Not to defend bootleggers, but the bootleg market sometimes influences bands to officially release concerts. Pearl Jam did this, as well as Fish and Marillion with their own label/CD club. The legality of live music often depends on the country–was legal in Italy for shows there, illegal in the USA.
I’ve also liked Nic Raine and the Prague Symphony Orchestra Bond collections through Silva Records. They are licensed re-recordings, but never have they done an entire soundtrack score.
What is sold as “promo copy” mostly never is and are just bootlegs. Elite has no “promo cd’s”.
The Elite scores have exellent tracks, because they are copied from the official cd’s, but most bonus tracks are awful sounding and just copied from the dvd’s.
Every bootleg is illegal. It‘s property theft. We do not support any crime here.
If anyone wants to listen to extra tracks which are not available on official Bond score releases go to youtube for the amateur reorchestrations. They are celebrating the artists without making money off of their property.
I’ve never downloaded a movie or participated in the napster piracy in the music industry. I’ve bought and paid for more than 3500 CDs, a thousand DVDs, and 500 Blu Rays, for the record. And most of the time this was after I paid for every movie watched either in the theater or on cable. That’s at least $56,000, maybe even $100,000 of my money spent just on home media, plus a few grand on Bond VHS, LD, DVD, BR, and probably 4K one day. Case in point: just bought Skywalker Saga 4K set for $250, even though I have the DVDs and Blu Rays already. I listened to the CBn guy that re-rerecorded TMWTGG on Youtube too.
What you said about spending money on all this entertainment makes me think… my, oh, my, how much I have spent on this drivel, too. These days I am delighted to find toilet paper in the store.
It reads as Zimmer came up with general ideas along with Steve Mazzaro, but the actual minute by minute scoring is Mazzaro with Zimmer doing the orchestrations. So…Zimmer did the work of Nicholas Dodd and, maybe, Michael Price, but Mazzaro did David Arnold’s work.
Going by his credit list, this has been their relationship for some time;
It’s hard to know who did what. Ramin Djawadi worked on many of Zimmer’s scores in much the same way, but I tend to prefer the music he composed himself (Iron Man, Person Of Interest, Prison Break, Westworld) to the work he’s credited for on a Zimmer soundtrack, so working as a team versus solo composing clearly has a noticeable effect. Might be interesting to compare Mazarro’s solo score for The Rhythm Section to his No Time To Die score - same employer, but one directly, the other via Zimmer.
I’ve had no luck with google trying to separate which movies he served as composer on, besides maybe TRS and Boss Baby. Are there any?
Perhaps NTTD will reveal bond worthy talent absent in TRS and BB, but have to say that I’m no longer excited about hearing this.
If it is great, then we’ll again be unlikely to know if it’s because Mazzaro is the talent, or if Zimmer was hands on. If it’s poor, then we’ll all assume that it’s because Zimmer was too busy with other responsibilities. That’s a neat position for Zimmer to place himself in - not so neat for his factory workers. It makes you wonder why Mazzaro would continue working in this way for so long if he’s good enough to go solo.
