Very possible that the film version may differ from this released version. I believe Writing’s on the Wall’s film version had far more orchestra behind it compared to its initial release. Not sure I’ll really get into Billie Eilish either, reading a couple of reviews it does sound like this track is Eilish reigning herself in a bit for the Bond tie-in, wouldn’t surprise me if this winds up being a bit of an oddity compared to the rest of her work.
Definitely is an oddity in terms of her work from what I was exposed to. Given that it’s a bond related song it was easier for me to digest compared to everything else she has done.
I did read a comment about past songs saying that one problem with Madonna’s song was that it was Madonna trying to be bigger than the franchise. The song was too Madonna, not enough Bond, combined with the very Madonna music video and her cameo in the movie. Or you had A-ha! apparently being a nightmare to work with composer John Barry on The Living Daylights. With this, it feels like Eilish is working well with Bond and this film’s composer, Hans Zimmer, producing something that is in her style, but has perhaps far more wide appeal.
I really like the song, so I hope Eilish does well out of it. She’ll gain a ton of money from the movie and from every Bond music compilation released, and she has to at least get an Oscar nomination, if not a win folling Adele and Sam Smith. I’m pretty happy, but then I thought Eilish was going to be interesting from the beginning. My worry is with Hans Zimmer coming in so late to production with his studio after replacing the Far Cry 5 composer, hoping the score isn’t too generic.
It sounds like Billie, but it has a Bond feel too.
The development surrounding this film has been lack of a batter way to put it interesting and the overall post production worries me since they started filming back in 2019. When you consider test screening and reshoots it’s a bit worrisome given how limited they have to meet that April release. I personally would of been fine with a delayed release just so they can get everything in terms of post production near perfect, but beggars can’t be choosers. I have no worry for Hans since he always delivers, I just don’t want the film to sound like a Nolan film.
It depends. I follow Calvin Dyson on Youtuber, he is a really good Bond Youtuber. He talks about Hans Zimmer, but makes the point that it isn’t just him coming on board, but his production company as well. It’s entirely possible alot of the score isn’t actually by Zimmer, but rather by other musicians in his company, which could lead to a really diverse or a really bland score. It’s hard to say honestly. I like a Bond film to have a great soundtrack, I was disappointed by Spectre’s due to how much of that film’s score felt like it was reused from Skyfall. (Did Thomas Newman have a very short timeframe?) Does feel like a shame that David Arnold seems to not be considered anymore for Bond projects, his five film scores are all great, Casino Royale especially.
“No, Time To Die”… like what if it’s a Dr. No reference?
“Dr No, time to die.” Lots of rumours about it, personally, I’m not a fan. I don’t think many people liked the Blofeld twist from Spectre, think it would be a big mistake to do that again. Really don’t want the Bond series to go down the route of recycling all of their old villians, with the exception of Blofeld.
It would be a very dumb idea. Dr. No was a “gimmick of its time”. Orientalism and the opportune timing of real life NASA launch troubles…
It would be a mistake to retread this classic villain.
The theme is good, but let’s hope the movie will rock too