No Time To Die: Production Diary

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  • PropertyOfALadyPropertyOfALady Colders Federation CEO
    Posts: 3,675
    jake24 wrote: »
    Birdleson wrote: »
    I know that I ask this frequently, but who was correct about the title SPECTRE, through inside connections?
    It was @slyfox, if I'm not mistaken.

    Right you are, @jake24.
  • I have an open mind with regard to titles, as doid flemming
    FoxRox wrote: »
    I’m still cautiously optimistic about Bond 25. If Mendes returns I will feel meh about it.
    I think cautious optimism is the right attitude right now. Plenty that could go wrong, starting with hiring mendes.
  • marketto007marketto007 Brazil
    Posts: 3,277
    Minion wrote: »
    Name B25 “Property of a Lady”, then B26 should start with an E... B27 with a C, B28 with a T, B29 with an R, and finally B29 with an E again. How arty!

    Hahahahaha
  • edited December 2017 Posts: 1,162
    fjdinardo wrote: »
    echo wrote: »
    Tarantino is a great director. But, his style doesn’t fit the Bond saga no matter how hard he tries it. Tarantino produces pseudo-1970s crime films in whichever shape they come. His pitch for Casino Royale though was awful.

    Imagine putting The Mamas and The Papas songs in the soundtrack. :))

    If Babs and MGW can convince the IFF to allow a true adaptation of TSWLM (and I'd take that rather than these four-year gaps), Tarantino is the man.
    No, Campbell should direct Bond 26. He has proven himself as the man to introduce a new Bond.

    Besides, Tarantino career has been sliding downhill since Jackie Brown. He hasn't lived up to his reputation in over a decade.
    You do realize he'd be 79 by 2022, don't you? He wouldn't have the energy for a big budget production to be the helm at like Bond. There's a reason The Foreigner was a bit weak.

    A bit ageist. Ridley Scott is doing just fine, for one.

    So is Clint Eastwood

    I am a great admirer of Eastwood's work, but American sniper has shown that he is past his time. And Ridley? It must be decades ago that he made something really remarkable. To me he's only cashing in on the brilliant work he delivered in the late 70s and early 80s. Come to think of it, just like Spielberg.
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    Tuck91 wrote: »
    The only director that would create enough buzz to impact the box office would be Nolan IMO.

    Well, Tarantino would, too. But I'm guessing you mean among leading candidates for the job.
  • edited December 2017 Posts: 3,333
    I couldn't disagree more with you @noSolaceleft. You might not have happened to like American Sniper very much, but the American BO for the movie was over $350,000,000 alone. Eastwood is perhaps the only director that continually brings in a movie under budget and on schedule. He's a studio's dream. Sully was pretty damn good, I thought, as a smaller picture. Why not wait until seeing The 15:17 to Paris before totally writing him off, eh?

    Spielberg on the other hand, once had a terrible reputation for going hugely over budget and over schedule. So much so, that it was George Lucas that had to stick his own money into Raiders of the Lost Ark to guarantee that Spielberg wouldn't repeat his previous mistakes. If Lucas hadn't done this, I doubt if many studios would've been so willing to have given him a second chance. He almost bankrupted both Universal and Columbia with Jaws and CEOT3K and especially with his 1941. Fortunately, the first two movies were successful enough to recoup the studio's exorbitant spending and losses, alas 1941 proved otherwise until Lucas came to his rescue. I'm sure had Spielberg made a Bond movie in the Seventies, as was his wish, then it would've ended up being the most expensive Bond movie ever made, bar none.
  • talos7talos7 New Orleans
    Posts: 7,983
    American Sniper was an excellent film.
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    bondsum wrote: »
    I couldn't disagree more with you @noSolaceleft. You might not have happened to like American Sniper very much, but the American BO for the movie was over $350,000,000 alone. Eastwood is perhaps the only director that continually brings in a movie under budget and on schedule. He's a studio's dream. Sully was pretty damn good, I thought, as a smaller picture. Why not wait until seeing The 15:17 to Paris before totally writing him off, eh?

    Spielberg on the other hand, once had a terrible reputation for going hugely over budget and over schedule. So much so, that it was George Lucas that had to stick his own money into Raiders of the Lost Ark to guarantee that Spielberg wouldn't repeat his previous mistakes. If Lucas hadn't done this, I doubt if many studios would've been so willing to have given him a second chance. He almost bankrupted both Universal and Columbia with Jaws and CEOT3K and especially with his 1941. Fortunately, the first two movies were successful enough to recoup the studio's exorbitant spending and losses, alas 1941 proved otherwise until Lucas came to his rescue. I'm sure had Spielberg made a Bond movie in the Seventies, as was his wish, then it would've ended up being the most expensive Bond movie ever made, bar none.

    I don't think Spielberg would have done a Bond film until FYEO...and I can only imagine how that would have gone.
  • Posts: 15,825
    I often wonder which Bond film it was Spielberg was trying to get in on. I always guessed either TSWLM or MR.
  • Posts: 12,273
    I like Spielberg's movies, but he definitely isn't the right choice for Bond in any way.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    We wouldn't have to worry anyhow. That ship has sailed decades ago.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,492
    I wouldn't want Spielberg of today directing a Bond film, he's too hit and miss anymore. Back in the 80's, though? Absolutely.
  • Posts: 15,825
    Had someone like Spielberg directed a Bond during the Cubby era, would he have stood for tampering with such things as the gun barrel a'la Forster and Mendes?
    I could see Spielberg skipping the gunbarrel, PTS, title sequence and theme song altogether and just doing his own thing.
  • bondjamesbondjames You were expecting someone else?
    edited December 2017 Posts: 23,883
    ToTheRight wrote: »
    I often wonder which Bond film it was Spielberg was trying to get in on. I always guessed either TSWLM or MR.
    It was TSWLM as far as I am aware. I believe Indy exists because Spielberg wanted to do something Bond-like.
  • Posts: 12,273
    ToTheRight wrote: »
    Had someone like Spielberg directed a Bond during the Cubby era, would he have stood for tampering with such things as the gun barrel a'la Forster and Mendes?
    I could see Spielberg skipping the gunbarrel, PTS, title sequence and theme song altogether and just doing his own thing.

    If Bond 25 excludes gunbarrel, pts, title sequence, and/or theme theme song I will be pretty ticked off. They should never leave any of those out of a Bond film; only DN didn’t have a pts and they were just getting started then.
  • edited December 2017 Posts: 5,767
    I don´t care to be honest as long as they kick out a smashing film. What I can´t stand is half-assed plumpness like in SP, where the gunbarrell starts but then doesn´t finish by becoming the small round dot wandering towards one corner of the black frame and then turn into the first scene.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    What price Craig having one decent and unmolested GB in his entire tenure?

    I wouldn't go any better than 7/2.
  • NickTwentyTwoNickTwentyTwo Vancouver, BC, Canada
    Posts: 7,526
    The CR gun barrel wasn’t “unmolested” but in my opinion was awesome. Really sparked excitement for the new modern era IMO, but I see your point either way.
  • Posts: 12,273
    The CR one, while not traditional, was the best-executed one for Craig. The SP one was almost perfect, but the ending of fading to black made it less good. QoS was a bit rushed and at the end, SF one was decent but also at the end. A 100% traditional one for Bond 25 would be the preference. Then we could all say it took him all 5 of his films, but Craig got a perfect gunbarrel at the end haha.
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    I always took the ending gunbarrel of skyfall to be the beginning of the next bond mission, since M hands him a file and says lots to be done. So in that sense it’s kinda cool but still, the gunbarrel should be at the start.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    The CR gun barrel wasn’t “unmolested” but in my opinion was awesome. Really sparked excitement for the new modern era IMO, but I see your point either way.

    Fair point.

    The CR one is awesome and Craig's best by a million light years but it's still not traditional.
    FoxRox wrote: »
    The SP one was almost perfect, but the ending of fading to black made it less good. QoS was a bit rushed and at the end, SF one was decent but also at the end.

    That's a rather generous assessment.

    The QOS one was an atrocity and they've been getting incrementally better with every subsequent film but at the rate they're improving it will take about another 17 films until normal service has been resumed.
  • edited December 2017 Posts: 12,837
    Put it at the start. Preferrably use the Brosnan era design (the SP one felt like a step back after we saw it in motion 20 years ago) but as long as it's some variation on Binder's original that isn't a massive deal. Bond theme. White dots. Bond walks at a normal pace, not like he's about to shit himself, and keeps his gun concealed instead of swinging his arm out and giving it away. Turns and shoots in a pose that looks badass, not awkward. No CGI bullet. Blood falls down but doesn't defy gravity. Move from side to side, open on the film, no subtitle.

    It's not hard is it? I genuinely don't understand how they can keep messing it up.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,492
    Put it at the start. Preferrably use the Brosnan era design (the SP one felt like a step back after we saw it in motion 20 years ago) but as long as it's some variation on Binder's original that isn't a massive deal. Bond theme. White dots. Bond walks at a normal pace, not like he's about to shit himself, and keeps his gun concealed instead of swinging his arm out and giving it away. Turns and shoots in a pose that looks badass, not awkward. No CGI bullet. Blood falls down but doesn't defy gravity. Move from side to side, open on the film, no subtitle.

    It's not hard is it? I genuinely don't understand how they can keep messing it up.

    That's gold. But hey, when you have to go...
  • Disagree. Not that fond of the brosnan gb. Too cg for me. I liked the sp one, all they need now is the traditional socket opening.
  • Posts: 15,825
    The CR gun barrel wasn’t “unmolested” but in my opinion was awesome. Really sparked excitement for the new modern era IMO, but I see your point either way.

    Fair point.

    The CR one is awesome and Craig's best by a million light years but it's still not traditional.
    FoxRox wrote: »
    The SP one was almost perfect, but the ending of fading to black made it less good. QoS was a bit rushed and at the end, SF one was decent but also at the end.

    That's a rather generous assessment.

    The QOS one was an atrocity and they've been getting incrementally better with every subsequent film but at the rate they're improving it will take about another 17 films until normal service has been resumed.

    The QOS design looked more like what you'd see in a spoof of the gunbarrel- like something on the Simpsons or Saturday Night Live.
    I was thrilled the SP had it back at the start, but the music was out of sinc, I HATE that the Craig version remains still after the gunshot lacking the back and forth swerve, and I DETEST the pretentious Dead is Alive rubbish. Had the dot opened on the skull, I would have been far more satisfied. I will say, though I did like the shade of red for the blood.
    FoxRox wrote: »
    ToTheRight wrote: »
    Had someone like Spielberg directed a Bond during the Cubby era, would he have stood for tampering with such things as the gun barrel a'la Forster and Mendes?
    I could see Spielberg skipping the gunbarrel, PTS, title sequence and theme song altogether and just doing his own thing.

    If Bond 25 excludes gunbarrel, pts, title sequence, and/or theme theme song I will be pretty ticked off. They should never leave any of those out of a Bond film; only DN didn’t have a pts and they were just getting started then.

    One of my prime concerns, hypothetically if Eon does sell in the future, is that other owners will do away with such beloved traditions. It seems every major movie now is a giant PTS, as all credits are saved until the end. In addition, I can't recall a single non-Bond film in the past 15 years with a music score I can hum by memory.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    Put it at the start. Preferrably use the Brosnan era design (the SP one felt like a step back after we saw it in motion 20 years ago) but as long as it's some variation on Binder's original that isn't a massive deal. Bond theme. White dots. Bond walks at a normal pace, not like he's about to shit himself, and keeps his gun concealed instead of swinging his arm out and giving it away. Turns and shoots in a pose that looks badass, not awkward. No CGI bullet. Blood falls down but doesn't defy gravity. Move from side to side, open on the film, no subtitle.

    It's not hard is it? I genuinely don't understand how they can keep messing it up.

    Thats-a-Bingo.jpg
  • NickTwentyTwoNickTwentyTwo Vancouver, BC, Canada
    Posts: 7,526
    It's not hard is it? I genuinely don't understand how they can keep messing it up.

    I don't think it's hard, and that they keep messing it up is obviously subjective. It isn't as though they've forgotten what the traditional gunbarrel looks like and don't know where to go to find it, they're obviously just trying new things, like they did with GE (moving reflection = amazing) and DAD (3D bullet = awful).
    IMO the CR was fantastic, Skyfall was fine but should have been at the beginning, QoS was awful and Spectre was great, but controversially I liked the fade to black and "the dead are alive" card.

  • edited December 2017 Posts: 5,767
    they're obviously just trying new things
    They wouldn´t appear so lost if they did partial variations while keeping the main thing, instead of changing it on many different ends at once.
    If you change tiny things, everybody knows you´re still playing the same song but try to keep it vibrant. And then you can even make a different song out of it, if you do it gradually. If you change too many things at once, people will be annoyed by you playing a different song.

    controversially I liked the fade to black and "the dead are alive" card.
    Be prepared to be incarcerated for the rest of your life. Come to think of it, I´m pretty sure I wouldn´t mind that one if I liked the film a bit. With the film being so low on my list, the deliberation with the end of the gb obviously seems highly pretentious to me.

  • NickTwentyTwoNickTwentyTwo Vancouver, BC, Canada
    edited December 2017 Posts: 7,526
    I agree they seem to have been throwing things against the wall to see what sticks. QoS definitely makes the least sense; Skyfall's being at the end could be justified as Bond starting anew and beginning a new mission with Fiennes' M in charge as others have said.

    I do enjoy Spectre despite all it's glaring flaws, so I'm not opposed to the words at the beginning, but I can easily see your point.
  • bondjamesbondjames You were expecting someone else?
    edited December 2017 Posts: 23,883
    At least as far as the gun barrel goes, hopefully they follow some of their own advice and get it right for the next one.
    barTwES.jpg

    It's unlikely until this era of experimentation is over and done with though.
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