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Safin has a nice ring to it. Someone's right, Safin is an Arab first name and Russian surname. We'll just see if we get his full name before the film is released. Malki himself is of cource of Arab decent, but I think he can pass as a Russian too.

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Maybe his name is Safin Safin  ajb007/lol

Instagram - bondclothes007

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Just to mess with our heads  ajb007/lol  ajb007/lol

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A member of the Other Place posted that Safin rhymes with sarin, a very nasty nerve gas. You know - like Vesper Lyn = West Berlin.

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There was a Russian tennis player named Marat Safin. He was a Tatar.

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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.

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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.

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https://i.postimg.cc/VrDv6tLK/EHwwidt-X4-AEiv-M9.jpg

Did anyone share this?

“The scent and smoke and sweat of a casino are nauseating at three in the morning. "
-Casino Royale, Ian Fleming

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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 …..

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JBR has heard rumours that composer Dan Romer has left the production.

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Number24 wrote:

JBR has heard rumours that composer Dan Romer has left the production.

Calling David Arnold.....calling David Arnold....please report for Bond Duty.

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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.

Last edited by Number24 (4th Nov 2019 14:13)

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Number24 wrote:

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!

@JaviTru on Twitter and Instagram. Occasional contributor to thejamesbonddossier.com

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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.

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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.

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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.

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Number24 wrote:

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.

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Yes, that's the trick. Composers have to make it sound like a Bond score, but at the same time give us something new.

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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.

"Any of the opposition around..?"

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The Red Kind wrote:

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.

Last edited by Matt S (5th Nov 2019 12:06)

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Depends which way he chooses to look at it- there's only been two movies since his last one.

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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.

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Miles Messervy wrote:
Number24 wrote:

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.

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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.

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Number24 wrote:

Yes, that's the trick. Composers have to make it sound like a Bond score, but at the same time give us something new.

That "trick" is true of all art. It must be familiar but different.