The 1min 58sec trailer was approved/classified by the BBFC on 18 December, last week, so it could have been shown on TV and in the cinema since that date.
It is a bit of a mystery as to why you would release a long trailer and then two weeks later have a shorter trailer approved and do nothing with it. Another weird aspect to an NTTD production/marketing process that has been odd from the very beginning. #twofilms
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If Zimmer is going to have his name connected to a Bond film, I’m pretty sure he is going to get personally involved so it isn’t just a box ticking mediocre affair. Well, you’d think, wouldn’t you.
Allegedly the user Hybrid Soldier is the moderator who knows Zimmer and it has been his comments on that board that put a fire under all this originally, care of Anton Volkov. There is speculation on this Zimmer discussion board about which of Zimmer's minions would do it, with the leading contenders being Lorne Balfe, Henry Jackman or John Powell. Balfe composed Mission Impossible Fallout's score. There is a claim on the Zimmer discussion board that Lorne Balfe put the Bond trailer on his Instagram page, but it's not true. https://www.instagram.com/lornebalfe/?hl=en
Balfe might be available (https://www.imdb.com/name/nm1154632/) as he has composed the score for Bad Boys for Life and that is released on 22 January and his other most recent projects, the HBO/BBC co-production His Dark Materials, Netflix Michael Bay movie 6 Underground and Netflix documentary Rebuilding Paradise are now out; IMDB is wrong when it says the documentary is out in 2020, Netflix released it on 1 November. https://wildfiretoday.com/2019/10/20/trailer-for-the-documentary-fire-in-paradise-released/
Balfe might be available (https://www.imdb.com/name/nm1154632/) as he has composed the score for Bad Boys for Life and that is released on 22 January and his other most recent projects, the HBO/BBC co-production His Dark Materials, Netflix Michael Bay movie 6 Underground and Netflix documentary Rebuilding Paradise are now out; IMDB is wrong when it says the documentary is out in 2020, Netflix released it on 1 November. https://wildfiretoday.com/2019/10/20/trailer-for-the-documentary-fire-in-paradise-released/
Balfe was also hired for additional music for Ad Astra alongside the original composer Max Ritcher. So he's accustomed to being brought onto projects late.
When Zimmer’s factory gets a project, a number of composers, arrangers and orchestrators work on it, though only one or two composers gets credit. They can get something done in less time than the usual two months or so that a film compose traditionally has. But it’s also why Zimmer’s team’s scores have little originality or substance.
When Zimmer’s factory gets a project, a number of composers, arrangers and orchestrators work on it, though only one or two composers gets credit. They can get something done in less time than the usual two months or so that a film compose traditionally has. But it’s also why Zimmer’s team’s scores have little originality or substance.
In addition to that Zimmer said in a roundtable chat with some of his remote control friends that directors often ask him to create something entirely new for their film. So he does but then they go "well actually we want it to sound like..." so I dont throw all the blame at him and remote control for often making cookie cutter music.
Interesting, to say the least. I would think Romer has been out since the original rumors of his departure surfaced, which means EON has had some time to find another composer. My first choice of course would be to bring Arnold back, however, IMO it could work if the Zimmer crew were tasked with creating a classic Bond score and do what they do, which is crib from other classic scores but in this case they would be cribbing form classic Bond scores which could work.....just grabbing at straws here I guess
Zimmer or his crew could turn out a great soundtrack. He's certainly done some terrific ones in the past, and they couldn't be any worse than Newman's mostly forgettable sonic wallpaper. I like David Arnold, but a lot of his work sounds the same and his "action music" is often discordant compared to the more steady work of John Barry.
Zimmer or his crew could turn out a great soundtrack. He's certainly done some terrific ones in the past, and they couldn't be any worse than Newman's mostly forgettable sonic wallpaper. I like David Arnold, but a lot of his work sounds the same and his "action music" is often discordant compared to the more steady work of John Barry.
You can't use the criticism of "a lot of his work sounds the same" when also talking about Zimmer (and Zimmer's crew) and Barry. You can say that about even better film composers like Jerry Goldsmith (in his last two decades) and John Williams.
Zimmer or his crew could turn out a great soundtrack. He's certainly done some terrific ones in the past, and they couldn't be any worse than Newman's mostly forgettable sonic wallpaper. I like David Arnold, but a lot of his work sounds the same and his "action music" is often discordant compared to the more steady work of John Barry.
You can't use the criticism of "a lot of his work sounds the same" when also talking about Zimmer (and Zimmer's crew) and Barry. You can say that about even better film composers like Jerry Goldsmith (in his last two decades) and John Williams.
That's a good point. It's pretty easy to recognize a Barry score whether it's Bond, Dances With Wolves or Born Free.
I've been championing on the the AJB for a return to a more "classic" Bond score ie closer to the Barry scores. Arnold did a good job of it. Arnold's scores for CR and QOS worked for me because they just "felt" like Bond scores. Bond film music should be recognizable as Bond music just by hearing it w/o any visuals. I wouldn't have a problem if they leaned on the BondBarry library of musical cues and themes and arranged and incorporated them into the NTTD score....it worked well in the trailers for the Craig films. A great title song that could be incorporated into the film score would help too. Hell, Tarantino has lifted music from Morricone and put it in his films to good effect, I don't see why some of Barry's work (like "007") couldn't be reworked to great effect.
Zimmer or his crew could turn out a great soundtrack. He's certainly done some terrific ones in the past, and they couldn't be any worse than Newman's mostly forgettable sonic wallpaper. I like David Arnold, but a lot of his work sounds the same and his "action music" is often discordant compared to the more steady work of John Barry.
You can't use the criticism of "a lot of his work sounds the same" when also talking about Zimmer (and Zimmer's crew) and Barry. You can say that about even better film composers like Jerry Goldsmith (in his last two decades) and John Williams.
That's a good point. It's pretty easy to recognize a Barry score whether it's Bond, Dances With Wolves or Born Free.
I've been championing on the the AJB for a return to a more "classic" Bond score ie closer to the Barry scores. Arnold did a good job of it. Arnold's scores for CR and QOS worked for me because they just "felt" like Bond scores. Bond film music should be recognizable as Bond music just by hearing it w/o any visuals. I wouldn't have a problem if they leaned on the BondBarry library of musical cues and themes and arranged and incorporated them into the NTTD score....it worked well in the trailers for the Craig films. A great title song that could be incorporated into the film score would help too. Hell, Tarantino has lifted music from Morricone and put it in his films to good effect, I don't see why some of Barry's work (like "007") couldn't be reworked to great effect.
I wasn't just talking about Barry having a recognisable sound (which I think is very important for a composer and one of Barry's best traits) but also that he totally reused things. He took a motif from Cilea's opera Adriana Lecouvreur and used it in Moonraker and Night Games. His themes for Born Free and Star Crash are very, very similar, just with different feels. At least it made sense when he based Out of Africa on Born Free. His reused chord progressions all the time.
But I still think he was a genius composer, even though he wasn't a particularly advanced composer. Compared to most film composers today, he was able to say it all through the notes and chords without resorting to sound effects or only using drones. There are only a handful of film composers today who know how to use music to tell a story.
You can't use the criticism of "a lot of his work sounds the same" when also talking about Zimmer (and Zimmer's crew) and Barry. You can say that about even better film composers like Jerry Goldsmith (in his last two decades) and John Williams.
That's a good point. It's pretty easy to recognize a Barry score whether it's Bond, Dances With Wolves or Born Free.
I've been championing on the the AJB for a return to a more "classic" Bond score ie closer to the Barry scores. Arnold did a good job of it. Arnold's scores for CR and QOS worked for me because they just "felt" like Bond scores. Bond film music should be recognizable as Bond music just by hearing it w/o any visuals. I wouldn't have a problem if they leaned on the BondBarry library of musical cues and themes and arranged and incorporated them into the NTTD score....it worked well in the trailers for the Craig films. A great title song that could be incorporated into the film score would help too. Hell, Tarantino has lifted music from Morricone and put it in his films to good effect, I don't see why some of Barry's work (like "007") couldn't be reworked to great effect.
I wasn't just talking about Barry having a recognisable sound (which I think is very important for a composer and one of Barry's best traits) but also that he totally reused things. He took a motif from Cilea's opera Adriana Lecouvreur and used it in Moonraker and Night Games. His themes for Born Free and Star Crash are very, very similar, just with different feels. At least it made sense when he based Out of Africa on Born Free. His reused chord progressions all the time.
But I still think he was a genius composer, even though he wasn't a particularly advanced composer. Compared to most film composers today, he was able to say it all through the notes and chords without resorting to sound effects or only using drones. There are only a handful of film composers today who know how to use music to tell a story.
I agree. The likes of Barry, Goldsmith, Williams, etc wrote recognisable melodies. Sure they nicked from others (usually classical) but knew how to write memorable tunes. Their work was music you could listen to away from the film. Nowadays film music appears designed to be listened to only with the film. A shame for a soundtrack enthusiast such as myself. Still, I've got those '60s & '70s greats to listen to.
I have another rumor to throw into the mix. If the score is being composed by one of Hans Zimmer's crew, apparently its going to be by Blade Runner 2049's Benjamin Wallfisch.
I have another rumor to throw into the mix. If the score is being composed by one of Hans Zimmer's crew, apparently its going to be by Blade Runner 2049's Benjamin Wallfisch.
That's an interesting name. Just was listening to Wallfisch's them from Shazam, which is to me is derivative of John William's original score for Superman (big orchestra, lots of brass, etc)...which IMO could be a good thing. If Wallfisch can write/arrange a score for NTTD that is derivative of the classic Barry Bond scores, I'd be more than ok with that. Wallfisch does appear to be a fine orchestral arranger with a decent sense of melody and good taste in what he cops from others.
FWIW Lorne Balfe is following Fukunaga on Instagram and Benjamin Wallfisch is not following Cary. John Powell is not following Fukunaga either. Henry Jackman doesn't appear to be on Instagram.
Comments
Looks the release date is Feb 4th. Interesting that it's being released on the Tuesday after the Super Bowl.
Hmm.....maybe premiers during the Super Bowl and is released to the 'net on 2/4 ?
The British number their dates, Day/Month/Year, not like the US approach of Month/Day/Year.
The 2min 36sec trailer released on 4 December also has a release date of 2/4/2020. That refers to the actual film.
https://bbfc.co.uk/releases/no-time-die-filmtrailer
The 1min 58sec trailer was approved/classified by the BBFC on 18 December, last week, so it could have been shown on TV and in the cinema since that date.
It is a bit of a mystery as to why you would release a long trailer and then two weeks later have a shorter trailer approved and do nothing with it. Another weird aspect to an NTTD production/marketing process that has been odd from the very beginning. #twofilms
https://twitter.com/DavidGArnold/status/1202285912081805324?s=20
So, the JamesBondRadio rumour of Dan Romer being fired is, for now, still a rumour.
This could easily mean worse music than Newman. Music should not come from a factory.
Here's the JamesBondRadio tweet which says Zimmer is not doing NTTD and it has a helpful link to Zimmer's Remote Control Productions list of composers, past and present.
https://twitter.com/JamesBondRadio/status/1211054646451675137?s=20
Here is the discussion board where the Zimmer rumour sprang from.
http://www.hans-zimmer.com/index.php?rub=fanlatest_comments
Allegedly the user Hybrid Soldier is the moderator who knows Zimmer and it has been his comments on that board that put a fire under all this originally, care of Anton Volkov. There is speculation on this Zimmer discussion board about which of Zimmer's minions would do it, with the leading contenders being Lorne Balfe, Henry Jackman or John Powell. Balfe composed Mission Impossible Fallout's score. There is a claim on the Zimmer discussion board that Lorne Balfe put the Bond trailer on his Instagram page, but it's not true.
https://www.instagram.com/lornebalfe/?hl=en
Balfe might be available (https://www.imdb.com/name/nm1154632/) as he has composed the score for Bad Boys for Life and that is released on 22 January and his other most recent projects, the HBO/BBC co-production His Dark Materials, Netflix Michael Bay movie 6 Underground and Netflix documentary Rebuilding Paradise are now out; IMDB is wrong when it says the documentary is out in 2020, Netflix released it on 1 November.
https://wildfiretoday.com/2019/10/20/trailer-for-the-documentary-fire-in-paradise-released/
Here are the IMDB pages for the other two favourites of the Zimmer discussion board.
Henry Jackman
https://www.imdb.com/name/nm2273444/
John Powell
https://www.imdb.com/name/nm0694173/#composer
BTW MI6-hq.com has reported that Romer is now scoring a film called Wendy and has a link to an online story about that which includes the film's trailer.
https://www.mi6-hq.com/news/rumours-swirl-on-no-time-to-die-composer-conundrum-191228
Interestingly MI6-hq.com says David Arnold is not working on NTTD as he is already EON's music supervisor for The Rhythm Section (TRS).
I looked at TRS' IMDB page and it does not list Arnold under music department, instead it lists Hans Zimmer as executive music producer and has Lorne Balfe for 'additional music'.
https://www.imdb.com/title/tt7134096/fullcredits/?ref_=tt_ov_st_sm
MI6-hq.com also says in its story that Balfe is not doing NTTD, 'according to industry commentators'.
You can't use the criticism of "a lot of his work sounds the same" when also talking about Zimmer (and Zimmer's crew) and Barry. You can say that about even better film composers like Jerry Goldsmith (in his last two decades) and John Williams.
That's a good point. It's pretty easy to recognize a Barry score whether it's Bond, Dances With Wolves or Born Free.
I've been championing on the the AJB for a return to a more "classic" Bond score ie closer to the Barry scores. Arnold did a good job of it. Arnold's scores for CR and QOS worked for me because they just "felt" like Bond scores. Bond film music should be recognizable as Bond music just by hearing it w/o any visuals. I wouldn't have a problem if they leaned on the BondBarry library of musical cues and themes and arranged and incorporated them into the NTTD score....it worked well in the trailers for the Craig films. A great title song that could be incorporated into the film score would help too. Hell, Tarantino has lifted music from Morricone and put it in his films to good effect, I don't see why some of Barry's work (like "007") couldn't be reworked to great effect.
I wasn't just talking about Barry having a recognisable sound (which I think is very important for a composer and one of Barry's best traits) but also that he totally reused things. He took a motif from Cilea's opera Adriana Lecouvreur and used it in Moonraker and Night Games. His themes for Born Free and Star Crash are very, very similar, just with different feels. At least it made sense when he based Out of Africa on Born Free. His reused chord progressions all the time.
But I still think he was a genius composer, even though he wasn't a particularly advanced composer. Compared to most film composers today, he was able to say it all through the notes and chords without resorting to sound effects or only using drones. There are only a handful of film composers today who know how to use music to tell a story.
But David Arnold has tweeted that he is not working on The Rhythm Section, so one wonders what else is wrong with MI6-hq.com's story?
https://twitter.com/DavidGArnold/status/1211572126429450240?s=20
I agree. The likes of Barry, Goldsmith, Williams, etc wrote recognisable melodies. Sure they nicked from others (usually classical) but knew how to write memorable tunes. Their work was music you could listen to away from the film. Nowadays film music appears designed to be listened to only with the film. A shame for a soundtrack enthusiast such as myself. Still, I've got those '60s & '70s greats to listen to.
That's an interesting name. Just was listening to Wallfisch's them from Shazam, which is to me is derivative of John William's original score for Superman (big orchestra, lots of brass, etc)...which IMO could be a good thing. If Wallfisch can write/arrange a score for NTTD that is derivative of the classic Barry Bond scores, I'd be more than ok with that. Wallfisch does appear to be a fine orchestral arranger with a decent sense of melody and good taste in what he cops from others.
So, I dunno.