The things we want to return to the Bond movies.

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  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    Max the Parrot.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Max the Parrot.
    Will you give him the kiss?
  • 1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.
  • 1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.

    Yes especially to 1, that is a trademark of Bond.
  • Posts: 4,325
    1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.

    Yes especially to 1, that is a trademark of Bond.

    I personally would like the end of Moonraker the novel, between Bond and Gala Brand - would work well with Craig's Bond.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    tanaka123 wrote: »
    1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.

    Yes especially to 1, that is a trademark of Bond.

    I personally would like the end of Moonraker the novel, between Bond and Gala Brand - would work well with Craig's Bond.

    Fleming's best ending that really gets to the heart of the Bond character. But didnt they try it with SP (which I loved at the time) only for them to totally f**k it up 5 minutes later by having Madeline 'snatched and held to ransom like some bloody heroine in a strip cartoon. The silly bitch.'
  • royale65royale65 Caustic misanthrope reporting for duty.
    Posts: 4,422
    That's the exact line that went through my head on viewing SP for the first time.
  • SzonanaSzonana Mexico
    Posts: 1,130
    1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.

    Yes especially to 1, that is a trademark of Bond.

    I also vote for number 1 to come back and make it a tradition again.
    I want the Brosnan Era to fully come back with a new actor or Craig in just one more film now that his arc has come to full circle.

    To close his Era doing a standalone film by the numbers
    1 pre tittles sequence
    3 meets a hot woman he gets to sleep with to know nothing about her in the whole film (some like Sylvia Trench )
    2 Bond goes to receive his mission
    3 visits Q to get his gadgets and the equipped car
    4 meets the Bond girl 1 sleeps with her and a few minutes latter is killed
    5 meets Bond girl 2
    6 meets the villain fight Bond wins end of the mission
    7 Bond ends with the main Bond girl in bed.




  • I'd like to see a big battle of some sort. A battle between two armies. Last seen in TLD. Doesn't have to be a priority, but I'd like to see another one.
    Szonana wrote: »
    1) Bond in bed with Bond girl at the end of the film.
    2) The Marines with/without Felix helping Bond against villain's army.
    3) A diabolical threat from SPECTRE (perhaps a chemical weapon unleashed over a major city.

    Yes especially to 1, that is a trademark of Bond.

    I also vote for number 1 to come back and make it a tradition again.
    I want the Brosnan Era to fully come back with a new actor or Craig in just one more film now that his arc has come to full circle.

    To close his Era doing a standalone film by the numbers
    1 pre tittles sequence
    3 meets a hot woman he gets to sleep with to know nothing about her in the whole film (some like Sylvia Trench )
    2 Bond goes to receive his mission
    3 visits Q to get his gadgets and the equipped car
    4 meets the Bond girl 1 sleeps with her and a few minutes latter is killed
    5 meets Bond girl 2
    6 meets the villain fight Bond wins end of the mission
    7 Bond ends with the main Bond girl in bed.

    Yes yes yes.
  • Posts: 533
    Birdleson wrote: »
    First and foremost:

    1. A return to the Bond franchise being the cutting-edge trendsetter (the leader), rather than trying to play catch-up with the latest superhero, sic-fi or whatever crowd-pleasing juvenile trend that may be the Soup Du Jour. Smart films for a more sophisticated audience.

    2. Real missions. No more cleaning up for past M, MI6 or Bond mistakes, feuds or other entanglements. Does MI6 exist solely to deal with MI6? Has Geoff Johns been behind this BS?


    Lesser, but desired and semi-important to me:

    1. 007 Theme (as @Benny cited).
    2. Proper gun barrel at the start (we got that much!) that ends with the barrel opening on the PTS.
    3. Bond smoking cigarettes (REAL cigarettes).
    4. Bond Girls that are not being shoved down our throats as "Bond's Equal" or with a tough attitude.



    It sounds as if you want to recapture the past. That's usually not a good idea from an artistic point of view.
  • MurdockMurdock The minus world
    Posts: 16,333
    A good memorable music score.
  • talos7talos7 New Orleans
    Posts: 8,011
    Murdock wrote: »
    A good memorable music score.

    I was just about to comment a big, bad, bold brassy Bond score. :D

  • MurdockMurdock The minus world
    Posts: 16,333
    talos7 wrote: »
    Murdock wrote: »
    A good memorable music score.

    I was just about to comment a big, bad, bold brassy Bond score. :D
    Great minds think alike. ;)
  • 0BradyM0Bondfanatic70BradyM0Bondfanatic7 Quantum Floral Arrangements: "We Have Petals Everywhere"
    edited July 2016 Posts: 28,694
    talos7 wrote: »
    Murdock wrote: »
    A good memorable music score.

    I was just about to comment a big, bad, bold brassy Bond score. :D

    @talos7, @Murdock, the music of the Bond films needs to be as important as everything else in the production, for sure, and I don't think it has been lately.

    I don't know about you two boys, but while everyone keeps pushing for a greater inclusion of Monty's Bond theme in the latest films, I have to say that I'd kill to hear a modern take and revival of one of Barry's most iconic themes included in a future Bond picture:

    https://www.youtube.com/watch?v=V7HVi08-MKU

    https://www.youtube.com/watch?v=TjL39_mNSks
  • talos7talos7 New Orleans
    Posts: 8,011
    The links don't work for me.
  • MurdockMurdock The minus world
    Posts: 16,333
    Same here.
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    They didn't work for me either, but if you copy and paste them into your browser, they do.
  • GBFGBF
    edited July 2016 Posts: 3,195
    1: don't give us more of all these unmemorable villains and henchmen. Give them more screen time and a solid back story. Explain their motivations. Henchmen may even have their own agenda.

    2: Don't focus on Bond and MI6 all the time.

    3: develop a solid and convincing spy story. This can go a bit OTT but the characters' behaviour and motivations should be feasible. Make it also less obvious who is good and who is bad.

    4: Don't copy everything from former Bond films. Keep this for anniversary Bond films.

    5: No globetrotting.

    6: Don't make Bond do all the work on his own. Give him some allies to make his successes more realistic. I hate the crater scene and the third act of Spectre because Bond is more like Superman there.

    7: Give us a bit suspense. The recent Bond films had hardly any of it, especially Spectre.
  • 0BradyM0Bondfanatic70BradyM0Bondfanatic7 Quantum Floral Arrangements: "We Have Petals Everywhere"
    Posts: 28,694
  • Simple request, can EON please give us a full bloodied rendition of the horn section of the Bond Theme during an actual action sequence (usually when Bond executes some amazingly death-defying escape) rather than just as a fanfare to signal the end of the film as it seems to have become?
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    jaydubya76 wrote: »
    Simple request, can EON please give us a full bloodied rendition of the horn section of the Bond Theme during an actual action sequence (usually when Bond executes some amazingly death-defying escape) rather than just as a fanfare to signal the end of the film as it seems to have become?

    I second this.
  • Mendes4LyfeMendes4Lyfe The long road ahead
    Posts: 8,159
    The scene where Bond checks his room for bugs. :)
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    The unsympathetic Bond.
  • Posts: 302
    I want gadgets to be tested in Q-Branch.
  • edited August 2016 Posts: 676
    This is a great thread, lots of good ideas. Here's hoping someone at EON (or someone who has EON's ear) will read the ideas here.

    Here are a few things I'd like to return:

    1) Using the title song's melody in the score. EON loves to take what worked well in their previous films and repeat it in their current films. Isn't it obvious that one of the major triumphs of Goldfinger (the best Bond in the eyes of Joe Q. Public) is the wonderful title song melody appearing again and again in the score? Gives Auric Goldfinger such a strong, menacing presence even when he's not on screen. Writing motifs for characters and ideas is a John Barry thing, of course... He doesn't get enough respect or credit for what he did for the old films.

    2) A story that begins mundane, then becomes large-scale and fantastical as it progresses. DN is about Strangways' murder, then Bond uncovers a plot to disrupt American missiles/space launches; GF is about gold smuggling, then turns into a nuclear detonation plot; OP is about stolen jewelry, then turns into a plot to disarm the West of nuclear arms. I could go on. The recent stories don't fit this mold, even getting smaller in scale as they go! Skyfall goes from agents worldwide threatened to just M threatened. Spectre goes from criminals taking over the global intelligence community to... uh, a bit of hacking and a condemned building being demolished. The problem here is probably connected to Mendes' need for the stakes to become personal rather than grand in scale.

    3) Bond setting up shop somewhere to complete his assignment, rather than crisscrossing the globe chasing leads. Istanbul and the Orient Express in FRWL; Nassau in TB; Piz Gloria in OHMSS; the Casino Royale in CR. Embedding himself in Goldfinger's world or in Sanchez' organization.

    4) The army storming the castle. This one's pretty self-explanatory. I thought it was a shame that they missed the trick of having M call in the cavalry to attack Blofeld's crater base in the last film. Could have been fantastic.

    It's perhaps worth nothing that Casino Royale does all of these except number 4. In my opinion, that film really is the closest they've gotten to a classic Bond film, with all elements properly measured and working together, since the '60s.
  • Posts: 1,296
    jaydubya76 wrote: »
    Simple request, can EON please give us a full bloodied rendition of the horn section of the Bond Theme during an actual action sequence (usually when Bond executes some amazingly death-defying escape) rather than just as a fanfare to signal the end of the film as it seems to have become?
    This is what I call the swing section of the Bond theme, sadly absent lately like maybe they are scared of it.
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    Cheesiness. We got a bit of it in SP, but I want some more eyebrow raising fun.
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    Birdleson wrote: »
    Cheesiness and puns? No.

    But being without them is a pun-ishment I can't bear

    Roger-Moore.png
  • Milovy wrote: »
    This is a great thread, lots of good ideas. Here's hoping someone at EON (or someone who has EON's ear) will read the ideas here.

    Here are a few things I'd like to return:

    1) Using the title song's melody in the score. EON loves to take what worked well in their previous films and repeat it in their current films. Isn't it obvious that one of the major triumphs of Goldfinger (the best Bond in the eyes of Joe Q. Public) is the wonderful title song melody appearing again and again in the score? Gives Auric Goldfinger such a strong, menacing presence even when he's not on screen. Writing motifs for characters and ideas is a John Barry thing, of course... He doesn't get enough respect or credit for what he did for the old films.

    2) A story that begins mundane, then becomes large-scale and fantastical as it progresses. DN is about Strangways' murder, then Bond uncovers a plot to disrupt American missiles/space launches; GF is about gold smuggling, then turns into a nuclear detonation plot; OP is about stolen jewelry, then turns into a plot to disarm the West of nuclear arms. I could go on. The recent stories don't fit this mold, even getting smaller in scale as they go! Skyfall goes from agents worldwide threatened to just M threatened. Spectre goes from criminals taking over the global intelligence community to... uh, a bit of hacking and a condemned building being demolished. The problem here is probably connected to Mendes' need for the stakes to become personal rather than grand in scale.

    3) Bond setting up shop somewhere to complete his assignment, rather than crisscrossing the globe chasing leads. Istanbul and the Orient Express in FRWL; Nassau in TB; Piz Gloria in OHMSS; the Casino Royale in CR. Embedding himself in Goldfinger's world or in Sanchez' organization.

    4) The army storming the castle. This one's pretty self-explanatory. I thought it was a shame that they missed the trick of having M call in the cavalry to attack Blofeld's crater base in the last film. Could have been fantastic.

    It's perhaps worth nothing that Casino Royale does all of these except number 4. In my opinion, that film really is the closest they've gotten to a classic Bond film, with all elements properly measured and working together, since the '60s.

    1 and 2 are very good points, I do agree. 2 in particular is a very good point about Mendes works.
  • Posts: 1,563
    1-Humor & Suspense: There has always been a delicate balance between humor and suspense in Bond films. Connery did it best in DN through TB, and then things became silly. Although we know Bond won't be killed, the challenge is to put him in suspense and real danger. Look at Connery's reaction to Red Grant or to Goldfinger when he is on the laser table. One of my favorite moments from OHMSS is when Bond is being chased through a crowd and bumps into a stranger. GL shows real panic. As for RM and PB, they were too playful. I never felt the peril. TD and DC had their moments.
    2-A great title song needs to be referenced throughout the film. Blunt Instrument, Aston Montenegro, and I'm the Money, though all too brief, are beautiful instrumentals of the main theme from CR.
    3-Enough psychology. The best Bond is in top mental and physical shape.
    4-Let's return to Bond stumbles into a situation: GF & TB.
    5-No more attractive but wooden actresses. The best by far are Tracy & Vesper.
    6-Quit being trendy and topical for the sake of being trendy and topical.
    7-Have Bond kill Blofeld in the PTS so we can kill the "I am your brother" nonsense.
    8-No more corrupt MI6 officials or MI6 is a thing of the past.
    9-No more explosions in the MI6 building,
    10-And finally, a memorable villain with an abundance of charm and danger.
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