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walther p99 wrote:

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.

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Matt S wrote:
walther p99 wrote:

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.

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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.

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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.

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Miles Messervy wrote:
Matt S wrote:
walther p99 wrote:

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.

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The Hollywood Reporter interview with Lashana Lynch and Ana de Armas, doesn't reveal anything new.
https://www.hollywoodreporter.com/featu … nd-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.

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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.

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Ana de Armas tells us a couple of things:

"[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."

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Gala Brand wrote:

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.

I am also getting the feeling that story of Romer leaving is just not true. However, even if it were, I don't believe that EON would delay release once again. It might not be an ideal time frame, but I have to believe a composer could come in and knock out a Bond score in 6 to 8 weeks. Seasoned pro session musicians can get things in the can in one or two takes plus editing and correcting mistakes or just about anything you want to do can be accomplished much quicker with digital recording and editing programs like Pro Tools.

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James Horner famously only had a few weeks to do the score for Aliens, which is why he recycled a lot from previous soundtracks, such as his Star Trek films.  It all depends on the project and the composer.

One of my former students said he worked for Hans Zimmer, who I'm told is always working on multiple projects because if he doesn't, he knows the studios will find someone cheaper who sounds like him.  He also farms out some work or has other composers approach him and essentially purchases the music from them.  If he uses it without much alteration, he gives some credit to the original composer.  I don't know how accurate this story is, so I wouldn't swear by it, but the student seemed reasonably credible and claimed it to be true.

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Gassy Man wrote:

One of my former students said he worked for Hans Zimmer, who I'm told is always working on multiple projects because if he doesn't, he knows the studios will find someone cheaper who sounds like him.  He also farms out some work or has other composers approach him and essentially purchases the music from them.  If he uses it without much alteration, he gives some credit to the original composer.  I don't know how accurate this story is, so I wouldn't swear by it, but the student seemed reasonably credible and claimed it to be true.

Sounds about right, the last Zimmer score that was solely written by him without a dozen ghost composers was Interstellar.

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So, we've had on the @007 Twitter account, a Spectre NTTD post on 2 November, a Saturday, and yesterday, a Skyfall NTTD post (6 Nov Wednesday). Is this a pattern?

Are we going to see a Quantum NTTD post on 10 November, this Sunday, and then a Casino NTTD post on 14 November (Thursday)?

Could that mean the NTTD teaser on Monday 18 November?

Still nothing, so far today, on the BBFC website. With 3 of the previous 4 DC films having 7-11 days between a BBFC announcement and the teaser trailer drop, it would seem that no BBFC approval today would make a teaser next week highly unlikely.

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Saw that a teaser trailer for a Pixar film named "Soul" dropped today. The film is being released in June. Two months after NTTD.

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No Time To Die : The Making of the Film
https://www.007.com/no-time-to-die-the- … -the-film/



Titan Books have announced they are publishing the official making of book for No Time To Die. This lavish coffee table book takes readers behind the scenes of the 25th official James Bond film and reveals the locations, characters, gadgets, weapons, and cars of No Time To Die with exclusive on-set photography, concept art, costume designs, and more, accompanied by cast and crew interviews.

Written by New York Times best-selling author Mark Salisbury, No Time To Die: The Making of the Film is set to publish in hardback on 14 April 2020, priced at $50 and £39.99.

Bond on the Box - Website | Twitter | Facebook | LetterBoxd | YouTube

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@ Red _ Snow: Sounds good, I will defiantly have to pick up a copy of the book for my collection. I have quite a few other making of books (many of which are out of print) of the respective movies in the series and I have really enjoyed reading them all.

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I'm starting to worry they're overselling the #MeToo aspect of NTTD. Sometimes it's difficult to see what comes directly from the people making the film and what's the press' interpretation of it, but I don't think #MeToo should be mentioned unless there is a direct question about it. Just make a good movie with interesting characters regardless of what gender they are. Th filmmakers should say things like: "Lashana Lynch is 007 at the start of the movie because it works really well for the story and she's a great actress!" If this is done correctly, both people who are  into that movement and the general audience will watch the film and enjoy it.

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Some of the NTTD cars in a secret location:

https://www.instagram.com/p/B4nKUR2Ds--/

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Number24 wrote:

I'm starting to worry they're overselling the #MeToo aspect of NTTD. Sometimes it's difficult to see what comes directly from the people making the film and what's the press' interpretation of it, but I don't think #MeToo should be mentioned unless there is a direct question about it. Just make a good movie with interesting characters regardless of what gender they are. Th filmmakers should say things like: "Lashana Lynch is 007 at the start of the movie because it works really well for the story and she's a great actress!" If this is done correctly, both people who are  into that movement and the general audience will watch the film and enjoy it.

I agree with what you are saying......but......don't let the nonsense that the Tabs put out there twist your head (or put put your nickers in a twist as they say). EON has said basically nothing beyond the basic bare bones of the story. There has been pretty much nothing in the Craig Bond films that would even remotely portray Bond as some sort of Walther PPK toting Harvey Weinstein. Much of this stuff has come from just the fact that there appear to be some strong female characters in the film and Phoebe Waller-Bridge was brought on board to contribute to the script. Even Waller-Smith has clearly said her purpose was not to mess with Bond but to punch up the script. Waller-Bridge knows how to write smart, edgy and darkly funny dialogue and her Fleabag character is loaded with huge character flaws and in some ways makes Craig's Bond look like a Boy Scout when it comes to relationships. IMO, there would be nothing worst than trying to do strong female characters in a Bond film who are poorly written with clunky ham handed dialogue that come off as typical Hollywood feminist stereotypes. Having Waller-Bridge on board was a great step in avoiding that.

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Waller-Bridge was recently interviewed on BBC radio 4 news and seemed to say she only
tweaked the script here and there. As the Bonds had ALREADY been changing to be much
more relevant  and inclusive, less sexist etc.

“I didn’t lose a friend, I just realised I never had one.”

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I've never worried that NTTD will be "too feminist" and I'm exited that Waller-Bridge is one of the scriptwriters. What I'm a little bit worried about is NTTD being perceived as the #MeToo Bond movie. I don't think that will help the movie. I didn't follow Bond at the time, but we know EON wanted TLD to reflect the AIDS epidemic at the time and gave him just one (actually two) Bond girls. I'm not going into any discussion now if that was the right call, but I seem to remember it being mentioned in the extras on the DVD. I don't know if this was mentioned during the production and cinema run of TLD, but my guess is they didn't because it wouldn't help sell the film. I think NTTD is quite often assosiated with #MeToo in the press I think their contribution in society is largely positive. I just don't think getting known as "The MeToo Bond film" is just as unhelpful as being "the AIDS aware Bond".

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Thunderpussy wrote:

As the Bonds had ALREADY been changing to be much
more relevant  and inclusive, less sexist etc.

Yeah....since 1987. If anything, I appreciate Waller-Bridge’s comments. It shows me that she understands that Bond hasn’t been a macho-sexist-monster for at least the past thirty years. I like that both Waller-Bridge, and Craig in his recent interview, are pushing back against the “woke” media narrative that the Bond franchise is somehow out of step with modern times. Nothing could be farther from reality.

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walther p99 wrote:
Gassy Man wrote:

One of my former students said he worked for Hans Zimmer, who I'm told is always working on multiple projects because if he doesn't, he knows the studios will find someone cheaper who sounds like him.  He also farms out some work or has other composers approach him and essentially purchases the music from them.  If he uses it without much alteration, he gives some credit to the original composer.  I don't know how accurate this story is, so I wouldn't swear by it, but the student seemed reasonably credible and claimed it to be true.

Sounds about right, the last Zimmer score that was solely written by him without a dozen ghost composers was Interstellar.

ajb007/cheers

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Number24 wrote:

Some of the NTTD cars in a secret location:

https://www.instagram.com/p/B4nKUR2Ds--/

What's with the complete DB10 and what looks like a few DB10 frames on the racks in the background?? ajb007/confused

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Miles Messervy wrote:
Thunderpussy wrote:

As the Bonds had ALREADY been changing to be much
more relevant  and inclusive, less sexist etc.

Yeah....since 1987. If anything, I appreciate Waller-Bridge’s comments. It shows me that she understands that Bond hasn’t been a macho-sexist-monster for at least the past thirty years. I like that both Waller-Bridge, and Craig in his recent interview, are pushing back against the “woke” media narrative that the Bond franchise is somehow out of step with modern times. Nothing could be farther from reality.

To be clear, my problem isn't with what I think they're doing. It's with the perception in the media of what they're doing. I liked Waller-Bridge's comment that the movies should change, but not Bond.

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No matter how far off the mark the media is or isn't, the chatter is keeping the Bond franchise on people's minds and mouths, and that's ultimately a good thing for all of us.

For the franchise to thrive and endure, Bond needs to be an event and a conversation, not a reliable helping of comfort food every 24 months.