It's 18 years since Beyonce was Foxy Cleopatra and she hasn't really made a mark in anything else since, so people will definately think of Austin Powers if she sings the title song.
considering the Austin Powers movies were better Bond type film experiences than the last several official films, they could do worse than to connect the two franchises in peoples minds.
Course Beyonce was in the specific film that revealed Austin and Dr Evil had been separated at birth, but the danger of that is that she will therefor be reminding us of SPECTRE
Zimmer seems like someone who has the tools at hand to give NTTD whatever the filmmakers ask him to do.
I think this is correct. So the question then becomes, what is it that they want? Probably not a radical departure from what we consider classic Bond since one would assume that’s why Romer was fired.
I’m thinking they may want something similar to what Newman did since Newman copied Zimmer’s style for his two Bond scores. If they wanted a classic Bond sound they likely would have hired Arnold.
I actually thought the score was pretty good and effective in 1917. I guess Newman copies Zimmer because he just isn't very good at doing action. The reality is, we don't really know why they didn't hire Arnold again and we do not know if they hired Zimmer because Newman copied Zimmer....holy crap, is it not time for Someone to weigh in here with some sort of conspiracy? )
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considering the Austin Powers movies were better Bond type film experiences than the last several official films, they could do worse than to connect the two franchises in peoples minds.
Of all the posts I’ve ever read on this site, this one is quite possibly the most daft. ) If that’s what you’re looking for out of a Bond film, it’s time to move along and save yourself the aggravation.
Given how ridiculously popular she is right now the hype generated around her doing it would be insane. Like Adele with Skyfall it would certainly help get even more people to the theater who were probably disinterested in Bond otherwise.
Just watched some videos on YouTube of Eilish performing live with just her brother accompanying her on piano, acoustic guitar and background vocals and harmony. She is very talented, has a great and unique voice, and IMO has written some very, very good songs (apparently her brother Finneas co-writes most of the songs and is quite talented himself). Her (and his) lyrics are clever and in some cases, haunting. IMO, her song "All The Good Girls Go To Hell" with some lyric changes and a Bond-like orchestration/arrangement could be a Bond theme. No complaints here. Eilish is also very popular and a critic's darling, so it's another real good "get" for the folks at EON.
Given how ridiculously popular she is right now the hype generated around her doing it would be insane. Like Adele with Skyfall it would certainly help get even more people to the theater who were probably disinterested in Bond otherwise.
Just wondering, how many people here have heard of her? I never did until today. I saw the episode of SNL she was on a few months ago, but I must have completely forgotten about her (like most of the musical guests on the show since Paul McCartney was last on) because the name did not sound familiar. But if this get can young people into Bond, I'm all for it.
Given how ridiculously popular she is right now the hype generated around her doing it would be insane. Like Adele with Skyfall it would certainly help get even more people to the theater who were probably disinterested in Bond otherwise.
I wouldn’t necessarily say an insane hype would be generated if she’s selected—probably a little bit more than say Sam Smith, but less than Adele. I may be wrong but I would think that only a small percentage of her listeners would even be just casual Bond fans. Although having such a young artist doing the song might turn some younger people into Bond fans.
She certainly ticks the boxes for what the typical Bond theme singer is, female, a Grammy nominee/winner, very high recent album sales and streaming and American. If she doesn't win and still does the theme that will be out of kilter with the past few years, Sam Smith and Adele both won Grammys.
Of her songs, I think Ocean Eyes is the one that seems most potentially a Bond theme. For me, its sub-Eurovision but a lot of those songs are accused of being possible Bond themes on social media. Oh well. https://www.youtube.com/watch?v=viimfQi_pUw
Just put a new video up that some of you might enjoy....Is Hans Zimmer the Right Choice for No Time To Die?
We discuss the choice of Hans Zimmer as No Time To Die's composer and ask if his music is right for Bond. John Williams, from JBR, joins me in exploring Zimmer's body of work, his sound, and even the consideration of David Arnold in the mix!
Your interviewee at 40mins in your chat says he wants to know what Barry means to Zimmer. This post has text from a 2011 interview Zimmer did where he talks about how much of a fan of Barry he is. https://www.ajb007.co.uk/post/967143/#p967143
I'm routinely baffled at how people don't hear the conceptual similarities between Zimmer and so much of Barry's work , especially n the 60s -- the use of tempo, rhythm, chord progressions/regressions, repetition of simple but strong themes. Compare the incidental action music in say, Goldfinger to how Zimmer accomplishes much the same thing but with different intensity and instrumentation. If you took The IPCRESS File's theme, sped it up and punctuated it with more modern, heavy percussion, it could almost be a Zimmer theme, like Sherlock Holmes. Zimmer gets it. He's going to turn in an incredible score.
Billie Eilish and Beyonce could both turn in fantastic Bond themes. Very different styles but both could work. All comes down to the instrumentation/orchestration behind the song. Strange Addiction, by Eilish, with a string section and some brass could easily be a Bond tune.
Bad, bad news
One of us is gonna lose
I'm the powder, you're the fuse
Just add some friction.
Given how ridiculously popular she is right now the hype generated around her doing it would be insane. Like Adele with Skyfall it would certainly help get even more people to the theater who were probably disinterested in Bond otherwise.
I wouldn’t necessarily say an insane hype would be generated if she’s selected—probably a little bit more than say Sam Smith, but less than Adele. I may be wrong but I would think that only a small percentage of her listeners would even be just casual Bond fans. Although having such a young artist doing the song might turn some younger people into Bond fans.
Insane was probably not the right word but having her sing the tune would only benefit NTTD's publicity and box office, provided the song was actually good of course.
Just put a new video up that some of you might enjoy....Is Hans Zimmer the Right Choice for No Time To Die?
We discuss the choice of Hans Zimmer as No Time To Die's composer and ask if his music is right for Bond. John Williams, from JBR, joins me in exploring Zimmer's body of work, his sound, and even the consideration of David Arnold in the mix!
Your interviewee at 40mins in your chat says he wants to know what Barry means to Zimmer. This post has text from a 2011 interview Zimmer did where he talks about how much of a fan of Barry he is. https://www.ajb007.co.uk/post/967143/#p967143
I'm routinely baffled at how people don't hear the conceptual similarities between Zimmer and so much of Barry's work , especially n the 60s -- the use of tempo, rhythm, chord progressions/regressions, repetition of simple but strong themes. Compare the incidental action music in say, Goldfinger to how Zimmer accomplishes much the same thing but with different intensity and instrumentation. If you took The IPCRESS File's theme, sped it up and punctuated it with more modern, heavy percussion, it could almost be a Zimmer theme, like Sherlock Holmes. Zimmer gets it. He's going to turn in an incredible score.
Because Zimmer (and his crew) have such a huge body of work, you have to focus on certain scores which are more melodic in content. It's not hard for me to imagine Zimmer adapting to a Bond score that would be recognizable without visuals as a Bond score. Zimmer's use of heavy, electronic percussion should work well in a Bond score. I would love to have an updated variation on Barry's "007" with that heavy percussion and/or the Bond theme.
Just put a new video up that some of you might enjoy....Is Hans Zimmer the Right Choice for No Time To Die?
We discuss the choice of Hans Zimmer as No Time To Die's composer and ask if his music is right for Bond. John Williams, from JBR, joins me in exploring Zimmer's body of work, his sound, and even the consideration of David Arnold in the mix!
Your interviewee at 40mins in your chat says he wants to know what Barry means to Zimmer. This post has text from a 2011 interview Zimmer did where he talks about how much of a fan of Barry he is. https://www.ajb007.co.uk/post/967143/#p967143
I'm routinely baffled at how people don't hear the conceptual similarities between Zimmer and so much of Barry's work , especially n the 60s -- the use of tempo, rhythm, chord progressions/regressions, repetition of simple but strong themes. Compare the incidental action music in say, Goldfinger to how Zimmer accomplishes much the same thing but with different intensity and instrumentation. If you took The IPCRESS File's theme, sped it up and punctuated it with more modern, heavy percussion, it could almost be a Zimmer theme, like Sherlock Holmes. Zimmer gets it. He's going to turn in an incredible score.
I've just listened to The Thin Red Line and can hear the similarities with Barry (and some with Goldsmith too). His music has changed a lot since then. Zimmer's chords and chord voicings are simpler than Barry's. Barry's music was almost always melody-based, which is rarely something Zimmer does these days. Barry approached every cue as if he were writing a song, which was both a strength and a weakness of his.
Billie Eilish would be an excellent choice! She is incredibly talented and would be fantastic for the franchise. Check out her live performance from Howard Stern here http://youtu.be/ZzNuwjErYlE
And for those who think she's "too young," The Beatles ranged from 27 (George) to 29 (Ringo) WHEN THEY BROKE UP! How crazy is that?!
Your interviewee at 40mins in your chat says he wants to know what Barry means to Zimmer. This post has text from a 2011 interview Zimmer did where he talks about how much of a fan of Barry he is. https://www.ajb007.co.uk/post/967143/#p967143
I'm routinely baffled at how people don't hear the conceptual similarities between Zimmer and so much of Barry's work , especially n the 60s -- the use of tempo, rhythm, chord progressions/regressions, repetition of simple but strong themes. Compare the incidental action music in say, Goldfinger to how Zimmer accomplishes much the same thing but with different intensity and instrumentation. If you took The IPCRESS File's theme, sped it up and punctuated it with more modern, heavy percussion, it could almost be a Zimmer theme, like Sherlock Holmes. Zimmer gets it. He's going to turn in an incredible score.
Because Zimmer (and his crew) have such a huge body of work, you have to focus on certain scores which are more melodic in content. It's not hard for me to imagine Zimmer adapting to a Bond score that would be recognizable without visuals as a Bond score. Zimmer's use of heavy, electronic percussion should work well in a Bond score. I would love to have an updated variation on Barry's "007" with that heavy percussion and/or the Bond theme.
I'm sure he'll incorporate melody -- he certainly did in the Sherlock Holmes movies, which really were more like Bond films, as well as Man of Steel and Blade Runner: 2049. He'll just do it in his way.
But Bond is the absolute property for doing so. Who doesn't know the Bond theme, simple as it is? Zimmer can rework that alone for a lot of the film.
He's not going to do a traditional orchestral score. He might have some moments, such as a traditional version of the Bond theme or incidental music, such as the opera he used in the Holmes movies.
That's all fine, though. There's no way a seasoned pro like him is going to blow this.
Your interviewee at 40mins in your chat says he wants to know what Barry means to Zimmer. This post has text from a 2011 interview Zimmer did where he talks about how much of a fan of Barry he is. https://www.ajb007.co.uk/post/967143/#p967143
I'm routinely baffled at how people don't hear the conceptual similarities between Zimmer and so much of Barry's work , especially n the 60s -- the use of tempo, rhythm, chord progressions/regressions, repetition of simple but strong themes. Compare the incidental action music in say, Goldfinger to how Zimmer accomplishes much the same thing but with different intensity and instrumentation. If you took The IPCRESS File's theme, sped it up and punctuated it with more modern, heavy percussion, it could almost be a Zimmer theme, like Sherlock Holmes. Zimmer gets it. He's going to turn in an incredible score.
I've just listened to The Thin Red Line and can hear the similarities with Barry (and some with Goldsmith too). His music has changed a lot since then. Zimmer's chords and chord voicings are simpler than Barry's. Barry's music was almost always melody-based, which is rarely something Zimmer does these days. Barry approached every cue as if he were writing a song, which was both a strength and a weakness of his.
Barry evolved, too -- by the 80s, his music was still recognizable as Barry, but he clearly moved further away from his jazz roots and more toward lush orchestral compositions. But then so did John Williams (and others), whose scores for TV shows like Lost in Space hardly seem in the same vein as his bits for Jaws and Star Wars.
Barry still produced a score using his simple, repetitive motifs from time to time. Listen to his main theme for The Black Hole, for instance, which like The Ipcress File relies on steady, metered repetition of chords and simple notes. There are moments like that in both his Dances with Wolves and Out of Africa soundtracks. Again, this is not markedly different from what Zimmer is doing conceptually -- he just applies faster tempo, wilder rhythms, and a more trance-like expression. Even Barry's use of the Bond theme in the ice scene in The Living Daylights involves some of the same basic concepts as Zimmer, and I don't mean just using some synth.
The end track of Bladerunner: 2049, starting at about the 3:12 mark, has a wonderful, repetitive melody that shows he can still do that kind of thing.
From what I've been told, Zimmer is always working, and that means he likely has a huge catalog of work he's not yet used. And I'm pretty sure he's watched a Bond movie or two and imagined what he would do given the chance.
I don't expect him to use a traditional full orchestra for most if any of the soundtrack for this Bond, but I think whatever he comes up with with be strong, fitting, and memorable. He knows he's landed a job with one of -- if not the most -- important franchises in movie history.
I don't think Billie Eilish is an obvious choise for Bond like Lana del Ray is. I see how her work can be adjusted into a good Bond title song, for example using strings instead of the humming choirs she likes. her lyrics also seem good. Her songs often seem to be more rythm based than mist Bond songs, but she usually has a good melody in the core of the song, unlike Madonna's DAD. That's good, obiously.
They have it lowered into the background in Dunkirk, but listen this unrelenting action track. Imagine if it had elements of the Bond theme in some extended chase, by car or foot, in the movie.
I really liked the Sherlock Holmes soundtracks were so distinctive and different from what we usually get. It shows there is a lot of range to what Zimmer (or his employees) can compose.
Comments
Course Beyonce was in the specific film that revealed Austin and Dr Evil had been separated at birth, but the danger of that is that she will therefor be reminding us of SPECTRE
I actually thought the score was pretty good and effective in 1917. I guess Newman copies Zimmer because he just isn't very good at doing action. The reality is, we don't really know why they didn't hire Arnold again and we do not know if they hired Zimmer because Newman copied Zimmer....holy crap, is it not time for Someone to weigh in here with some sort of conspiracy?
Of all the posts I’ve ever read on this site, this one is quite possibly the most daft.
Underneath the Mango Tree, there's no time to die, you should take it from meeee
Just wondering, how many people here have heard of her? I never did until today. I saw the episode of SNL she was on a few months ago, but I must have completely forgotten about her (like most of the musical guests on the show since Paul McCartney was last on) because the name did not sound familiar. But if this get can young people into Bond, I'm all for it.
I wouldn’t necessarily say an insane hype would be generated if she’s selected—probably a little bit more than say Sam Smith, but less than Adele. I may be wrong but I would think that only a small percentage of her listeners would even be just casual Bond fans. Although having such a young artist doing the song might turn some younger people into Bond fans.
Here is her page on the Grammys website. They seem to have made a mistake as her nominations are for this year and not 2019.
https://www.grammy.com/grammys/artists/billie-eilish
You can see her six nominations among the 2020 nominees on this the official 2020 nominee webpage.
https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list#1
Here is Bad Guy, for her best song/record/best pop solo performance nominations.
https://www.youtube.com/watch?v=DyDfgMOUjCI
She certainly ticks the boxes for what the typical Bond theme singer is, female, a Grammy nominee/winner, very high recent album sales and streaming and American. If she doesn't win and still does the theme that will be out of kilter with the past few years, Sam Smith and Adele both won Grammys.
Of her songs, I think Ocean Eyes is the one that seems most potentially a Bond theme. For me, its sub-Eurovision but a lot of those songs are accused of being possible Bond themes on social media. Oh well.
https://www.youtube.com/watch?v=viimfQi_pUw
Just seems strange to me. I'd prefer an older pick to sing with some life experience -{
Bad, bad news
One of us is gonna lose
I'm the powder, you're the fuse
Just add some friction.
I mean... that gives me Bond vibes. -{
Co-Host of the Très Bond podcast -{ @tresbondpod (Instagram/Twitter/Facebook)
Because Zimmer (and his crew) have such a huge body of work, you have to focus on certain scores which are more melodic in content. It's not hard for me to imagine Zimmer adapting to a Bond score that would be recognizable without visuals as a Bond score. Zimmer's use of heavy, electronic percussion should work well in a Bond score. I would love to have an updated variation on Barry's "007" with that heavy percussion and/or the Bond theme.
I've just listened to The Thin Red Line and can hear the similarities with Barry (and some with Goldsmith too). His music has changed a lot since then. Zimmer's chords and chord voicings are simpler than Barry's. Barry's music was almost always melody-based, which is rarely something Zimmer does these days. Barry approached every cue as if he were writing a song, which was both a strength and a weakness of his.
And for those who think she's "too young," The Beatles ranged from 27 (George) to 29 (Ringo) WHEN THEY BROKE UP! How crazy is that?!
But Bond is the absolute property for doing so. Who doesn't know the Bond theme, simple as it is? Zimmer can rework that alone for a lot of the film.
He's not going to do a traditional orchestral score. He might have some moments, such as a traditional version of the Bond theme or incidental music, such as the opera he used in the Holmes movies.
That's all fine, though. There's no way a seasoned pro like him is going to blow this.
Barry still produced a score using his simple, repetitive motifs from time to time. Listen to his main theme for The Black Hole, for instance, which like The Ipcress File relies on steady, metered repetition of chords and simple notes. There are moments like that in both his Dances with Wolves and Out of Africa soundtracks. Again, this is not markedly different from what Zimmer is doing conceptually -- he just applies faster tempo, wilder rhythms, and a more trance-like expression. Even Barry's use of the Bond theme in the ice scene in The Living Daylights involves some of the same basic concepts as Zimmer, and I don't mean just using some synth.
The end track of Bladerunner: 2049, starting at about the 3:12 mark, has a wonderful, repetitive melody that shows he can still do that kind of thing.
From what I've been told, Zimmer is always working, and that means he likely has a huge catalog of work he's not yet used. And I'm pretty sure he's watched a Bond movie or two and imagined what he would do given the chance.
I don't expect him to use a traditional full orchestra for most if any of the soundtrack for this Bond, but I think whatever he comes up with with be strong, fitting, and memorable. He knows he's landed a job with one of -- if not the most -- important franchises in movie history.
https://www.youtube.com/watch?v=qWjnmrlkCk4
https://www.youtube.com/watch?v=n1VJ39nVIBk
https://www.youtube.com/watch?v=w4OdIOGBW2Q
https://www.youtube.com/watch?v=yLV-Z05nwFI
https://www.youtube.com/watch?v=igoUGTzN-W0