Seems like there are several Russian athletes named Safin, I don't know if they're related. Tatars are of Turkish decent, not Arab, so I have no idea if the Russian and Arab names are somehow linked.
I was assuming that Safin is meant to be Tatar, especially since there was talk of a Russian villain. Bond visited Tatarstan in Quantum of Solace, so maybe there’s a connection.
James Bond Germany (JamesBond.de) "can exclusively confirm the first #notimetodie international trailer is set to be released in the beginning of December 2019.". Let's see if they're right …..
I wonder if it's true, and if so, what was the reason? Was it creative differences?
David Arnold is listed with three TV series and the new Shaft movie in 2019. I hope he has time to do it.
I wonder if it's true, and if so, what was the reason? Was it creative differences?
David Arnold is listed with three TV series and the new Shaft movie in 2019. I hope he has time to do it.
The Shaft movie has come and gone from theaters! If the rumor is true, Arnold is the right man for the job to step in and save the day!
I only wrote what was listed under his name for 2019 on IMDB, I assume mush of it is already done. I agree Davis Arnold seems like the best option if the Dan Rohmer story is true. We already know Arnold can compose a good Bond score.
If it is true that Romer is moving on, I would be curious to know what the issue was. I wonder if Romer was looking to do something a bit too much out of the Bond tradition and the producers got cold feet. Response to the last two scores by Newman was pretty tepid while Arnold's score's for CR and QOS were lauded by many as far and away the best post Barry scores. I always thought it was a mistake on EON's part to allow Mendes to have his way and bring Newman on when Arnold was really hitting his stride as a Bond composer. IMO, Arnold really had to take his game to the next level for CR especially in light of not being able to fall back on the Bond theme except for the very end of the film and with QOS not having even a half decent theme song to incorporate into the score.
I also suspect Romer wanted to be more expermental than EON could exept. I was/am looking forward to his score because he likes to Experiment, but perhaps it was too much.
I also suspect Romer wanted to be more expermental than EON could exept. I was/am looking forward to his score because he likes to Experiment, but perhaps it was too much.
For me, the two poles are Serra and Newman. The former was too experimental, and the latter was safe to the point of being generic. What we need is someone who is comfortable doing what audiences recognize as Bond, but still creative enough to put his or her own mark on it. I think it’s probably difficult to do.
Would David Arnold jump at the chance to step in? (I'm sure he has some Bond gems tucked away somewhere). Or would he be a little reticent given he's been overlooked for over 10 years.
Would David Arnold jump at the chance to step in? (I'm sure he has some Bond gems tucked away somewhere). Or would he be a little reticent given he's been overlooked for over 10 years.
He has said that he would still want to do a Bond score. He has not been overlooked for Bond over the past ten years; the directors have wanted to use their friends without even thinking about who to hire to do the music or considering who is best for the job.
When a composer drops out or is replaced mid-production the new composer is often from Zimmer's Remote Control productions. An example being when Denis Villeneuve's regular collaborator Johann Johannsson was replaced mid-production on Blade Runner 2049 by Zimmer and Benjamin Wallfisch. Might be a similar situation to that if it is true. Where a relatively indie composer has trouble recapturing a familiar sound on a massive scale.
I also suspect Romer wanted to be more expermental than EON could exept. I was/am looking forward to his score because he likes to Experiment, but perhaps it was too much.
For me, the two poles are Serra and Newman. The former was too experimental, and the latter was safe to the point of being generic. What we need is someone who is comfortable doing what audiences recognize as Bond, but still creative enough to put his or her own mark on it. I think it’s probably difficult to do.
Spot on. If forced to choose I'd gor for experimental over safety but its not easy to getvthat balance. I liked Arnold but he strayed close to pastiche on occasion (probably a minority/niche view)
Of that of which we cannot speak we must pass over in silence- Ludwig Wittgenstein.
I guess I'm Mr. Bad Example. It's been so ingrained in my musical and Bond film psyche since I started seeing the Bond films in theaters back in 1964 that the Barry sound is a really big part of the films, much like John Williams Star Wars scores.
When a composer drops out or is replaced mid-production the new composer is often from Zimmer's Remote Control productions. An example being when Denis Villeneuve's regular collaborator Johann Johannsson was replaced mid-production on Blade Runner 2049 by Zimmer and Benjamin Wallfisch. Might be a similar situation to that if it is true. Where a relatively indie composer has trouble recapturing a familiar sound on a massive scale.
If one of Zimmer’s crew does Bond it won’t sound like Bond. It will sound like Newman’s take on Bond but even more generic. It’s a fast way to put together a film score.
When a composer drops out or is replaced mid-production the new composer is often from Zimmer's Remote Control productions. An example being when Denis Villeneuve's regular collaborator Johann Johannsson was replaced mid-production on Blade Runner 2049 by Zimmer and Benjamin Wallfisch. Might be a similar situation to that if it is true. Where a relatively indie composer has trouble recapturing a familiar sound on a massive scale.
If one of Zimmer’s crew does Bond it won’t sound like Bond. It will sound like Newman’s take on Bond but even more generic. It’s a fast way to put together a film score.
They just finished filming, so I don’t see what the rush is to score the film? Isn’t this when the composer would usually begin working anyway? The issue will be finding someone who is not already committed to another project for the next few months.
Will this (if it's true) increase the possibilities for the composer using parts of the tite song melody in the score? Not to mention the legendary Bond theme? Because I'm all for that.
If Romer has actually left the production, it's really being kept under wraps as I have not actually seen anything other than the post here about it. If in fact, Romer has left, I would imagine that EON won't come out with anything until they have another composer on board.
When a composer drops out or is replaced mid-production the new composer is often from Zimmer's Remote Control productions. An example being when Denis Villeneuve's regular collaborator Johann Johannsson was replaced mid-production on Blade Runner 2049 by Zimmer and Benjamin Wallfisch. Might be a similar situation to that if it is true. Where a relatively indie composer has trouble recapturing a familiar sound on a massive scale.
If one of Zimmer’s crew does Bond it won’t sound like Bond. It will sound like Newman’s take on Bond but even more generic. It’s a fast way to put together a film score.
They just finished filming, so I don’t see what the rush is to score the film? Isn’t this when the composer would usually begin working anyway? The issue will be finding someone who is not already committed to another project for the next few months.
Right. I don’t understand the urgency either. It usually takes about 6 weeks for the whole scoring process. It’s probably even faster for the commonplace non-composers these days.
Ana cryptically says that she helps Bond, but I still can't work out how she can be in the film for any length of time when Madeleine is also supposed to be heavily involved. Anyway, at least some publicity for an otherwise extremely publicity light Bond film.
My understanding is that for a major motion picture, the composer starts preparing the score shortly after shooting starts. He reviews the script and then the daily rushes and prepares snippets of music for the director's approval. Then he starts working with the performer for the title music in order to incorporate elements of that into the score. The writing of the score is finished shortly after filming is finished and the recording of the score is finished about half-way through post-production so it can be included in the final edits. Since the release date is in early April, recording of the score would have to be finished by late January at the latest. Remember that the film industry takes off mid-December through the first week in January.
I don't see a new composer writing and recording a complete score for a 150-minute movie in 6-8 weeks.
If the story is true (I don't think it is), the film's release date would have to be put off again if Romer has left/been dismissed.
"[Paloma] is a character that is very irresponsible," says de Armas. "She's got this bubbliness of someone who is excited to be on a mission, but she plays with this ambiguity — you don't really know if she's like a really trained, prepared partner for Bond." Sure, de Armas is running around in a gorgeous gown with sky-high heels ("No one can train you or prepare you for that," she says), but she adds that "brains and looks are equal this time. She's very smart. She helps Bond navigate through certain things that he wouldn't be able to do alone."
- She goes on a mission with Bond
- It's not clear if she's trained for this, but "She helps Bond navigate through certain things that he wouldn't be able to do alone."
Comments
Did anyone share this?
-Casino Royale, Ian Fleming
Calling David Arnold.....calling David Arnold....please report for Bond Duty.
David Arnold is listed with three TV series and the new Shaft movie in 2019. I hope he has time to do it.
The Shaft movie has come and gone from theaters! If the rumor is true, Arnold is the right man for the job to step in and save the day!
For me, the two poles are Serra and Newman. The former was too experimental, and the latter was safe to the point of being generic. What we need is someone who is comfortable doing what audiences recognize as Bond, but still creative enough to put his or her own mark on it. I think it’s probably difficult to do.
He has said that he would still want to do a Bond score. He has not been overlooked for Bond over the past ten years; the directors have wanted to use their friends without even thinking about who to hire to do the music or considering who is best for the job.
Spot on. If forced to choose I'd gor for experimental over safety but its not easy to getvthat balance. I liked Arnold but he strayed close to pastiche on occasion (probably a minority/niche view)
That "trick" is true of all art. It must be familiar but different.
If one of Zimmer’s crew does Bond it won’t sound like Bond. It will sound like Newman’s take on Bond but even more generic. It’s a fast way to put together a film score.
They just finished filming, so I don’t see what the rush is to score the film? Isn’t this when the composer would usually begin working anyway? The issue will be finding someone who is not already committed to another project for the next few months.
Right. I don’t understand the urgency either. It usually takes about 6 weeks for the whole scoring process. It’s probably even faster for the commonplace non-composers these days.
https://www.hollywoodreporter.com/features/how-lashana-lynch-ana-de-armas-are-helping-modernize-james-bond-1252345
Ana cryptically says that she helps Bond, but I still can't work out how she can be in the film for any length of time when Madeleine is also supposed to be heavily involved. Anyway, at least some publicity for an otherwise extremely publicity light Bond film.
I don't see a new composer writing and recording a complete score for a 150-minute movie in 6-8 weeks.
If the story is true (I don't think it is), the film's release date would have to be put off again if Romer has left/been dismissed.
"[Paloma] is a character that is very irresponsible," says de Armas. "She's got this bubbliness of someone who is excited to be on a mission, but she plays with this ambiguity — you don't really know if she's like a really trained, prepared partner for Bond." Sure, de Armas is running around in a gorgeous gown with sky-high heels ("No one can train you or prepare you for that," she says), but she adds that "brains and looks are equal this time. She's very smart. She helps Bond navigate through certain things that he wouldn't be able to do alone."
- She goes on a mission with Bond
- It's not clear if she's trained for this, but "She helps Bond navigate through certain things that he wouldn't be able to do alone."