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why because he is brilliant see Rogue Nation and Usual Suspects
The fact is that the Bond scripts have been middling to poor for a very long time. Haggis and Logan have added some finesse to the dialogue, but there's something missing. EON should be aiming so much higher. As I've said before I don't understand why they don't have a safe full of plots and scripts ready to be dusted down and go into production at any given time. Obviously the director needs to have a say, and tweaking and polishing is always required, but why always this seeming last minute uncertainty around the scripts? With three or four year gaps, there's no excuse for it.
Jez. And I agree.
I'd prefer him to Purvis and Wade again.
His brother Jonathan might be the better, and more likely, choice.
No, your opinion is that the scripts have been middling to poor. You're certainly welcome to hold that opinion, but no one is entitled to state that their opinion (political or artistic) is a FACT. You're not the first person to make this mistake and somehow I expect you won't be the last, but still: opinion. Not fact.
Your lack of understanding regarding the process of making a movie is fairly obvious. Look at it this way: professional script writers don't work for free. In order for Eon to have this mythical safe full of plots and scripts you envision, they'd have to spend hundreds of thousands of $$$ on material they may or may not ever use. This is an unnecessary expense that isn't going to be incurred by Eon or any other professional filmmaker.
They had a good run but with QOS and especially Skyfall it got more than evident that they don't have it in them anymore to write Bond properly. Skyfall is such a mess script wise and only thanks to the best cinematography ever and some over the top sequences that gets somewhat hidden.
BB and MGW don't have the guts to make bold decisions anymore. They play it safe.
I'm more than certain they will hold on to Mendes as well and they will pay whatever necessary to keep him.
After Spectre the franchise needs a new start desperately.
That includes new writers. And they have preferably to be born after 1968.
Jonathan Nolan would be perfect but the disadvantage with him is, he would need his brother to direct the movie, at least the first one. He is not independent enough yet to be on his own.
Matthew Vaughn would be perfect for a new style of Bond that is needed desperately after Craig has gone.
Guy Ritchie, now that would be fantastic, imagine what Ritchie could do with Bond.
Luc Besson (born 1959, my exception to the rule).
If anyone has proven to be able to do spy/action/thrillers then it's him.
I think one of the most important things is to get someone who is not strictly a writer.
The best movies are mostly made by director/writers like the ones I mentioned above.
What's worth noting is the production process surrounding a film, particularly a tent-pole like Bond. The screenplay doesn't get written and then made verbatim. There are so many external factors at play that a very decent screenplay could end up being pulled apart to the point that it fails to work any longer, or at best doesn't quite sing as it once did. I would imagine SP is such an amalgam of thoughts and ideas that pinpointing who is responsible for what will be reasonably tricky and even when it's clear cut the likelihood it has transferred from script to screen as the writer intended is still slim. The whole process is collaborative, which is a blessing and a curse.
Let's not be too quick to dish out criticism on writers, if a director wants to push and pull their work in a different direction there's little they can do. My thoughts are that P&W have likely done just as much good work as anyone else during their tenure.
Yes it's my opinion. Well spotted.
I guess it boils down to whether or not you like the general direction of the stories and scripts, which P+W have clearly played a significant role in. Regardless of whether you like they're plots/stories, I think their dialogue is not especially good.
I can't imagine being named Jez...
It's short for Jeremy.
It depends what Butterworth did. He'll have had a pass at it, but there will have been a specific job given to him. He wasn't on it long enough for a rewrite irrc, which suggests a polish. My guess is that the meat and potatoes are a combination of Logan and P+W, with Butterworth adding a little gravy.
I love it, but it needs the Roast to function properly, otherwise you're just drinking Bisto. As it's otherwise known QoS.
Seriously Bond should snap Evans up before some other big franchise like Marvel or DC or MI or something gets him (he was already a candidate for the Assassin's Creed adaption, I think it's only a matter of time).
Have you seen the leaked stuff? Purvis and Wade basically saved SPECTRE. Logan did a terrible job but their draft, the current shooting script, is really good imo (I don't think the other guy did a full draft, just touched up P+W's script).
Seriously judging from their track record (TWINE, CR, SF, SP, I don't think it's fair to count QoS due to the writers strike) I think we can safely lay the blame for DAD on Tamahori. I've forgiven Purvis and Wade.