Let’s hope NTTD is the amazing Mazzoro score for which Zimmer gives him credit enough to go solo.
I expect it to be in the same mold one has come to know from RMC: one simple theme, spread out through lots of droning and crescendos, much more percussion than Barry, Arnold or Newman ever employed.
It won’t be the best Bond score ever, rather (for me) way, way down the list, maybe better than DAD (although that one, in its expanded version, did prove to be better than I thought).
When Zimmer was announced I immediately thought that EON wanted to throw the big gun at this film, more for PR reasons than for actual creativity. But maybe NTTD actually is the kind of film which needs lots of noise and overpowering EMOTIONS (other word for easy access through clichés).
Man, am I in a good mood today or what?
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To be fair from what we know about NTTD I think it genuinely is that sort of film - and I’m not saying it as a bad thing.
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Thanks for these!
Mazzaro seems to throw everything and the kitchen sink at it. None of the subtlety of Newman, or the thematic simplicity of Barry.
With Zimmer I expect plenty of creative experimentation; a decent hook that’s stretched through various soundscapes. Sounds naff but it’s every effective.
However, Mazzaro doesn’t seem to have that edge, or creative spark. There’s glimpses of experimentation in the second piece, but everything else quickly jumps to ‘11’ with full orchestra and voices at the first opportunity and gets trapped there.
TRS, stands out, but only in its notion to ape Vivaldi and has nothing else to say.
Guess I feel more pessimistic after hearing those. I hope CJF has a good ear and a direct line to Zimmer.
One particular detail I noted, Zimmer talks about agreeing to do it after discussing it with Johnny Marr
Johnny was right. He wanted to bring guitar back into the score. We were just embracing our inner John Barry [the English composer who established the Bond music traditions back in the 1960s].
I have a suspicion that Mazzaro’s main selling point was being able to copy a style fast. Zimmer comes up with a Barryesque “sketchbook” around Marr’s guitar and (possibly) Eilish’ theme then Mazzaro translates that into a full score.
This is the “sketchbook” Zimmer constructed for Man Of Steel;
Was a good OST, but when your immediate comparison is John Williams’ finest theme (not exactly a small title) nothing could measure up.
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The thing that bores me whenever I listen to a RMC score is how indistinctive they sound. It really does not matter who composed what - in the end it all sounds like, well, Zimmer.
Sure, Barry always sounded like Barry, too. But the Zimmer factory seems to rely on the same bag of tricks every time. The wailing female voice, the cacaphony, the meandering soundscape… Barry tried out new ideas to refine his style, and he always, always offered lots of thematic material, just fantastic melodies.
Barry was so intelligent to counter the frenetic action with haunting, slow, melancholic music, instead of adding even more action.
Unfortunately, that style seems to have vanished completely. It´s all about: BE LOUDER, DO MORE!
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This!!! 
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With Hans Zimmer releasing the first track from his upcoming “Wonder Woman 1984”-soundtrack (the movie was postponed to October 2020) we might get a tease from “No time to die” then in… October?
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I was hoping the same thing when I saw that he had done that but realized it was probably only done to accommodate the DC Online event. That said, it would be a wonderful treat and one I wish for whole heartily.
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Unfortunately, I will not be attending.
If the 10 second teaser did in fact include some of Zimmer’s score, then I may be coming around to it yet.
Sounds like Zimmer, very dramatic statements of the theme.
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I just finished the first three episodes of The Boys Season 2 on Amazon (no spoilers), but there is a hilarious Hans Zimmer joke at the beginning of episode 3.
From a soundtrack message board here is the list of NTTD‘s music department:
Hans Zimmer - music composer
Steve Mazzaro - additional music composer
Steven Doar - additional music
Ashley Andrew-Jones - assistant engineer
Laurence Anslow - digital recordist
Christopher Benstead - Supervising Music Editor
Mark Berrow - violin
Rachel Bolt - viola
Chuck Choi - Technical Score Consultant
Al Clay - Music Score Mixer
Rupert Coulson - additional score engineer
Michael Dore - singer
Matt Dunkley - arranger title song / conductor title song / score conductor
Alex Ferguson - assistant engineer
Geoff Foster - score engineer
Rebecca Hordern - assistant engineer
Connor Hughes - assistant music editor
Steven Kofsky - music production services
Alex Lamy - Technical Assistant
Adam Langston - Orchestrator: title song
Roger Linley - musician: double bass
Stephen Lipson - Score Mixer / music producer
Steve Mair - musician: double bass
Mandy Mamlet - music department
Dorina Markoff-McNulty - title music
Johnny Marr - musician/guitar
Joan Martorell - orchestrator
Gianluca Massimo - assistant engineer
Vicky Matthews - musician: cello
Adam Miller - additional score engineer
Jack Mills - assistant engineer
Alejandro Moros - technical assistant
James Warren Morris - Assistant Orchestrator
Vicente Ortiz Gimeno - orchestrator
Pedro Osuna - orchestrator
Ben Parry - choir director
Tom Pigott Smith - musician: violin
Eva Reistad - score mix assistant
Òscar Senén - lead orchestrator
Shalini S. Singh - Studio Manager: remote control productions, inc.
Jill Streater - head of music preparation
Allen Walley - musician: double bass
Alvin Wee - score mix assistant
Mel Wesson - ambient music designer
Rob Westwood - orchestrator
Warren Zielinski - musician: violin
Dan Boardman - cuban music orchestrator
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I was under the impression that Johnny Marr was going to be kind of a co-composer, but it looks like he’s only credited there as a guitar player. Did I just misinterpret his role from the start or did he get demoted? 
Did you guys see the Hans Zimmer arrangement of Pink Floyd’s “Eclipse” in the Dune trailer? Johnny Marr plays on that too.
He was only ever announced to be playing on the score, if there is a co composer here it’s Mazzaro (who seems to be officially credited in the film itself under Additional Music by)
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Eilish and FINNEAS love for Bond screams through. It’s the most awake Eilish looks for the whole podcast!
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