Dan Romer to compose Bond 25

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Dan Romer to compose Bond 25

Postby The Sweeney » Tue Jul 02, 2019 7:50 pm

https://www.indiewire.com/2019/07/bond- ... 202154760/

Not happy with this at all. Arnold should have been brought back. He is the only one who gets John Barry, and brings enough of those sounds into a Bond film which has been severely lacking in Craig's past 2 outings.

From the examples I've heard, it sounds like Bond 25 will be another moody Newman type job, which I'm sick to death of. I was really hoping Arnold would have returned. It was the one thing I was holding out for (that, and some unused Fleming scenes).

So I'm already disappointed now by Bond 25 from the choice of composer. Here's hoping we at least get a few lifted Fleming scenes (although again, wishful thinking.)

I really think the producers need to sell the franchise on to people who know what they are doing with Bond. I think Babs and Wilson's time is up.

Cubby knew he needed to stick with Barry whenever possible, and he also knew he had to still rely on Fleming, even during the 80's when the novel titles dried up. Short stories and scenes were still heavily relied upon. Other than CR, we haven't seen any Fleming scenes adapted since LTK in 1989. Instead, we've had to suffer poor attempts at `Fleming re-imagined' by P&W.

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Re: Dan Romer to compose Bond 25

Postby Omega » Tue Jul 02, 2019 8:59 pm

Crap. He’s a odd ball choice. Arnold didn’t see himself as being fired when Mendes replaces him, but you can’t kill P&W with a Kryptonite bullet.
My guess is when someone not kissing producers ass asks why this guy? and why so late in the game? Well get a answer about how he could write the complicated scores for the female characters.

My gut feeling is what is going to hurt the bond franchise this time is holding on to story lines and themes the audiences don’t really care about. look how fast franchises are moving now, marvel launches Ironman after they felt the bond field was left open after CR and filled the gap with tony stark in 2008, same year as QOS, and look where we are 11 years 20 movies later.
WB had launched a new super hero franchise about the one year after skyfall, gave us 7 or 8 films (eon has made only 1 film since 2012) only 2 or 3 of the dceu were any good, and wb fixing the problems and offering up new Batman, joker and Superman soon, and expanding what the audiences did like with successes like wonder woman helping make aquaman a success. It’s hard to explain but I feel although WB made mistakes they also offered up something entertaining to the audience and the audience knows WB is trying to find the sweet spot the audience wants. Babs wants to continue off the back of the mendes story arc which especially today are not well liked by the audience. Even if we say every film since CR it’s a slow meandering burn I don’t believe anyone is holding there breath to see more of. Cubby had it right he kept bond coming so the audience doesn’t forget, I fell babs is stuck on a lame story arc and is too slow at Turing out the movies so she has no idea what her audience wants any more.

By all rights by 2020 we should be on bond 28, looking back I think the break between TWINE and DAD was a warning sign, we saw the longer the delay didn’t improve the finished product and they didn’t care enough to plan the next movie. Also Looking back Cubby was a gifted amateur who knew how to hold on when he stuck the right notes, Babs and MGW are nothing but amateur. I think the longer they stay in charge the more it shows. Sad thing is their partner the studio is so weak they have to go along with whatever babs says.


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Re: Dan Romer to compose Bond 25

Postby bjmdds » Tue Jul 02, 2019 11:26 pm

Sweenerific, 11 months AWOL? Give up on this franchise with Broccoli at the helm. She is an extremely disturbed feminist who wants to destroy her own legacy big time :!: MGW is a puppet. He gets wheeled out every 3-5 years now. Music? That is the least of the issues now? Can we expect you back here again before Bond 25 premieres, if it ever does?
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Re: Dan Romer to compose Bond 25

Postby Kristatos » Wed Jul 03, 2019 11:27 am

Omega wrote:Crap. He’s a odd ball choice.

He has worked with Cary Fukunaga before, on the movie Beasts of No Nation, so like Sam Mendes with Thomas Newman, it seems to be a case of a director bringing in a composer he trusts.
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Re: Dan Romer to compose Bond 25

Postby Omega » Wed Jul 03, 2019 1:16 pm

Kristatos wrote:
Omega wrote:Crap. He’s a odd ball choice.

He has worked with Cary Fukunaga before, on the movie Beasts of No Nation, so like Sam Mendes with Thomas Newman, it seems to be a case of a director bringing in a composer he trusts.
that maybe . fukunaga is odd ball to start with, he gets a guy he worked with once who’s claim to fame is a video game sound track, which dialogue, plot and music is games is often many time better than movies. How much crap is going on that directors are so uncomfortable they have to hire someone they “trust” to compose music. Maybe this how it works, seems like studios and producers used to provide directors with a capable choice, it seems like to get arthouse directors babs is throwing away the producers job of overseeing this. But she has also thrown away a lot of authority to keep Craig on.

Its like I was saying in the previous post she has not kept up with the franchise, she lets it sit unattended for years at a time. Thinking about she has allowed outsiders like Craig and his directors to control aspects she should be doing. I think her disinterest combined with desire for praise from the right circles has caused her to let the bond train steam out of control. Under cubby directors and actors felt they had no real control and maybe that was too ham fisted but marvel is just as overprotective but most of their directors feel they had some input and control. EON can’t do a Kathleen Kennedy where she allowed star wars to go unchecked and Disney has to step in and force director changes and assert creative control because at some level they understood the finished product couldn’t be something random that directors change characters and themes of the movies without regard for the movie series.


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Re: Dan Romer to compose Bond 25

Postby Kristatos » Thu Jul 04, 2019 8:01 am

Omega wrote:How much crap is going on that directors are so uncomfortable they have to hire someone they “trust” to compose music.

Lots of directors have composers they work with again and again. Steven Spielberg and John Williams, Tim Burton and Danny Elfman, David Lynch and Angelo Badalamenti, Kenneth Branagh and Patrick Doyle...I'm sure there are plenty of others, but those are just the ones I came up with off the top of my head.
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Re: Dan Romer to compose Bond 25

Postby Omega » Thu Jul 04, 2019 12:09 pm

Kristatos wrote:
Omega wrote:How much crap is going on that directors are so uncomfortable they have to hire someone they “trust” to compose music.

Lots of directors have composers they work with again and again. Steven Spielberg and John Williams, Tim Burton and Danny Elfman, David Lynch and Angelo Badalamenti, Kenneth Branagh and Patrick Doyle...I'm sure there are plenty of others, but those are just the ones I came up with off the top of my head.
but for a lot of big franchises and most movies made it’s not a buddy buddy relationship for a director picking who he wants, the movie serenity the director wanted the composer from the tv series firefly to score the motion pictures, studio said no and give him a couple choices. A lot of those director like burton and Spielberg started off together with the composers so were cheap to get and the studio didn’t mind.

The whole phrase about getting a composer they trust sets me off, it implies the production values are so poor the director does not trust the producers to make sure his vision is made, doesn’t trust Arnold could accurately score his movie. Maybe there’s a good reason from what little we know if production it’s a mess.

The gap we had from John Barry, to Serra’s goldeneye and John Altman’s rescore of the tank chase (cubby or whoever had wanted a track like Leon), then Arnold’s TND through QOS. Now at the end Arnold was told not to use certain stand riffs used in films for 40 years, but the quality of the score were solid. Now it is spin the wheel to see where it lands and what kind of sound the movie gets.




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