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Secondly, as others have pointed out, I don't see why a release date would need to be pushed back a couple of months if it's just a case of polishing the script.
I know that Baz can be accurate with some of his gossip, but no other news source is carrying this story, nor is there anything official coming from Sony or EON so I will reserve any judgement until I hear from the horse's mouth (and no, I'm not talking about Babs). ;-)
If shooting has/will be pushed back, it won't just be polishing.
That was my thought as well! Let's hope they're gonna bring back David Arnold!
I definitely agree.
Money seems to have changed their minds.
And yes, it´s a funny co-incidence that the Barbarella project seems to have stalled lately.
If we´re being honest, P&W have done a huge variety of things with Bond, from utterly ridiculous stuff like DAD to rough and gritty no gadget stuff, i.e. Craig-Bond, so all that flak they get seems to be founded on poor research.
Tomorrow Never Dies had a very fraught screenwriting process - it was claimed scenes were rewritten during the filming - but it got made and released on time. If memory serves me, TND started principal photography in April 1997.
At this point I wonder how much of it is,true, if any.
Good we will have MI5 on schedule.
Gauging this story further I'd suggest that a studio executive isn't happy with the logistical headaches of rescheduling the production at the last minute, especially when the script should be nailed down at this stage, and is leaking this info early as it's bound to come out sooner or later when Eon don't hit their deadlines. I'm sure other posters here will point out that many movies go into production incomplete or being rewritten on the spot, but unless we talk specifics here and their artistic results then it's inconsequential. I'm sure Joss Wheden's Avengers: Age of Ultron wasn't sketchy and being constantly altered leading up to its production date? Maybe this is more akin to that other Marvel production Ant-Man? But then again, maybe we (nor I) should make comparisons as this movie has a very different set of problems particular to its own journey and making comparisons is worthless.
Personally I'd have preferred it if Mendes hadn't been brought back and they'd gone with another director and we'd got Bond 24 this autumn instead of... whenever? But alas, it is what it is.
If he indeed has gotten the news,I doubt he's already come back to consciousness.
If this helps, I am a professional screenwriter (both film and tv) as many of you here are aware. I have worked through the writing process from scratch (verbal pitch, story-line, out-line, full treatments, full drafts, revisions etc.) to production many times.
Logan has evidently delivered the 1st draft now and more than likely has completed revisions on that draft, perhaps even a 2nd draft - and now all parties have agreed a fresh set of eyes on the script and story (or in this case, the experienced eyes of past Bond writers) is the most positive way to advance into production. This is very, very common in screenwriting. And nothing to get worried about. It is far better they have the best screenplay possible before they start filming. (Eon know this all too well - both TND and QOS suffered due to shooting with scripts which needed much more work.)
Decisions have obviously been made and ideas discussed at length for a new draft, and, based on the estimated amount of re-write work involved, a schedule has been established which pushes back the shoot date by two months. Again, this happens more often than many might realize.
:)) So looking forward to him waking up and posting.
It's not unusual and in fact happened to P&W several times over the last few years. It makes sense that Mendes brought back P&W as they clearly enjoyed a very successfully collaboration on SF. It's possible given Logan's recent comments that he is slightly bruised by Mendes asking P&W back and therefore effectively taking him out of the picture (at least for the meanwhile) as he supposedly came up with the story (this would also explain Baz's comments surrounding the 'polite turmoil' at EON).
Bond 24 will still come at next year regardless of the production delay. SF was something of an anomaly as it had a full year in production before coming out in 2012, typically Bond films work on around a 10 month production window; eg, CR started filming in February 2006 and came out in November that same year. This story is nothing to worry about and just a necessary part of Bond 24's development.
Another possible explanation behind the delays could be work at Pinewood on 'Star Wars'. Abram's film has been plagued with problems and it's likely that delays will occur which will naturally affect other films wishing to use the facility.
I certainly don’t hold them responsible for every bad thing in their previous efforts, but why go back to these two? So many others could have been turned to. It was time to move on after Skyfall.
Maybe they got back to them because they are the devil they know. That is if the Daily Mail article is true, in part or in full. I never thought Logan would or should be the sole writer. He is good with characters, great with dialogues, but plot wise his scripts are often lacking. But Purvis and Wade are not outstanding plot writers and their dialogues are often poor.
This might sound strange, but it can be very hard to determine a writer's actual work and ability from a finished film. I think it was Robert Towne (famous for Chinatown - and one of my top ten films) who said the only real way to judge a screenwriter's work and true ability is to read his or her's original - untouched by others - spec screenplays. Simply put, there can be so many fingers in the pie by the time a script gets to camera even the greatest writing can become muddled, weakened, even ruined in the end.
So perhaps the finished films, like TWINE or DAD, do not do their work justice.
They are not hugely successful and highly paid screenwriters for nothing.
Never a truer word. Until people write a screenplay and have it go into production, I think it's very hard to understand.
Yes, it's a complex (frequently exhausting) process to explain. The writing is always key to a good film - but of course the problem is that there are plenty (too many) producers - even directors - out there who do not recognize good writing when it's right in front of them.