![]() ![]() Zimmer though? Bond? Hmm… I guess it could work? These were my first thoughts, though my wariness did then subside when the composer did several interviews for the film, citing how much he wanted to use a guitar player for the score (Johnny Marr) and how much he loved John Barry and David Arnold’s respective approaches to Bond’s music. To bring this all to the point then – when I first heard that Hans Zimmer was taking over scoring duties for No Time To Die, I must say I was somewhat skeptical (though admittedly a little pleased that Newman would not be returning). It’s not as if this is how the theme is supposed to be used – Brosnan’s Bond for example has the motif weaved throughout his movies in gloriously full form (thanks to David Arnold) and it sounds absolutely fantastic. Newman’s work for the franchise overall features some truly excellent action writing (see Backfire) but it all distinctly lacks any major presence of Bond’s iconic theme save for a few notes dotted here and there, and for the life of me I have never understood it. It barely appeared in Arnold’s Quantum Of Solace, and when Thomas Newman took over scoring duties for Skyfall and Spectre respectively, it all but disappeared, playing fragmented at best and never in a full rendition. Since then however, Craig’s Bond has become the 007 we all know and love, and yet – the Bond theme is still used as sparingly as it was in Casino. It made sense for David Arnold’s Casino Royale, as Bond was just getting started (and hadn’t quite earned his iconic title just yet), and so the score spent much of its runtime building up with snippets of the theme until finally unleashing it in all its glory right at the end of the film for a three minute, fist-pumpingly dramatic rendition. ![]() Let me just preface this review by saying one thing I’ve not been much of a fan of the music composed for much of Daniel Craig’s Bond era so far (particularly Skyfall and Spectre), and this has been for one pretty simple but all important reason a continual, confusing refusal to use the iconic Bond theme (composed by Monty Norman) in any substantial way. Hans Zimmer’s No Time To Die features a well-crafted, John Barry-esque orchestral style that is then used for several excellent action setpieces, it’s just a bit of a shame that the Bond theme doesn’t feature all that prominently. ![]()
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