Returning crew members (Update: Bond 26)

M_BaljeM_Balje Amsterdam, Netherlands
edited November 23 in Bond 26 & Beyond Posts: 3,804
Returning crew members you like to see return for Bond 24.

Maintitle: Daniel Kleinman
Editor: Stuard Baid. Don't make same mistake as with QOS. Sony ask him first for Vantage Point, makes him not avaible for QOS. If replacing him: Walter Murch editor of Jarhead who is directed by Sam Mendes with more QOS/Skyfall setting and Talented Mr Ripley who look like more on CR setting. Skyfall whas to long, but blame this more to P&W and John Logan and the fact there whant finish a story line. QOS whas to short.
Production Designer: Dennis Gassner.
Cinematopgrapher: Roberto Schaefer or Roger Deakins

Composer: ??. Thomas Newman, David Arnold, Craig Amstrong (The Incredible Hulk)
Newman whas refreshing, but there be enough moments i mis David Arnold. So mabey there should go for a new composer again: Craig Amstrong, he is English like David Arnold and Newman is American. He be a fresh choose, but with a style who comes closer to David Arnold.

Second united Directer: I mis something with Skyfall and CR whas to violence. But i wil go for Alexander Witt.

Costume Designer: Like Thomas Newman and John Logan Skyfall whas the first Bond movie for Jany Temime.

Special effects supervisor/coordinator/technician If you ask me, no return of Chris Corbould for Bond 24. Long time family member of Eon. He work on the car chase in DAD (With Vic Amstrong) and The dogflight in QOS. Possible his work on Dark Knight give that feeling on Skyfall too and need a refreshing like Peter Lamont happend before. If you ask me also not return of Gary Powell also, he replace Vic Amstrong. There is not much changed in some of the stunts since Powell take over. Some people don't like car chase of QOS also and then you also have that boat chase. This made already 3 action scene's in QOS who not be liked. There also should not be proud on the car/train chase of Eve in Skyfall. The Tosca scene and library scene in QOS and is examples of good ones. Dickey Beer (Tomorrow Never Dies) should be consider to return or let Vic Armstrong atleast be return as supervisor to make the stuns look longer.

On this moment be confirmd:

Michael G Wilson and Barbara Broccoli .... Producers
Sam Mendes ... Directer
John Logan .... Screenplay Writer. Intresting be that he is credit as Screenplay. Mabey this mean another writer will step in or it based Ian Fleming material again.
Dennis Gassner .... Production Designer

Expect to return:

Chris Corbould .... special effects supervisor/coordinator/technician
Gary Powell ... Stunt supervisor/coordinator
Daniel Kleinman .... Maintitle
Debbie McWilliams .... Casting
Anna Pinnock .... Set Decorator (QOS/Skyfall)
Alexander Witt .... Second United Directer on CR and Skyfall. Whas not avaible like Stuard Baid for QOS.


Confirmd not return:

Pervis and Wade

Comments

  • royale65royale65 Caustic misanthrope reporting for duty.
    Posts: 4,385
    Cool idea for a thread.

    Some of the people you've mentioned have been working on the Bond films for years; just like a family.

    I'd keep the crew that worked on Skyfall - why break up a winning team? Crucial to the new film is Stuart Baird and Alex Witt.

    Maybe I'd change the composer - either Michael Giacchino or David Arnold methinks
  • DragonpolDragonpol Writer @ http://thebondologistblog.blogspot.com
    Posts: 14,947
    Thomas Newman for me.
  • Posts: 6,396
    Newman and Deakins are a must
  • Newman and Deakins are a must

    Deakins certainly. The jury, including EON's, seems to still be out on Newman. Mendes may have to do some ass smooching of Barb and Mike to get him hired again. There's plenty of time for that to be worked out, Arnold can get it done if not, and Giacchino and Jesper Kyd would be others who should be considered.
  • edited July 2013 Posts: 6,396
    Newman and Deakins are a must

    Deakins certainly. The jury, including EON's, seems to still be out on Newman. Mendes may have to do some ass smooching of Barb and Mike to get him hired again. There's plenty of time for that to be worked out, Arnold can get it done if not, and Giacchino and Jesper Kyd would be others who should be considered.

    I think Mr Newman's friend, Mr BAFTA would disagree with you there ;-)
  • edited July 2013 Posts: 3,494
    Newman and Deakins are a must

    Deakins certainly. The jury, including EON's, seems to still be out on Newman. Mendes may have to do some ass smooching of Barb and Mike to get him hired again. There's plenty of time for that to be worked out, Arnold can get it done if not, and Giacchino and Jesper Kyd would be others who should be considered.

    I think Mr Newman's friend, Mr BAFTA would disagree with you there ;-)

    You're missing my point if you think that alone guarantees Newman will be back for BOND24. I see the soundtrack as less than several of Arnold's Bond scores, that said, if they give him another go-round I'd be fine with it IF he pays more attention to the legacy left by the master and gives us a more Bondian sounding soundtrack this time. Barry's sound should be as inextricably linked to Bond films as martinis, girls, and guns and those who don't feel that way are sorely missing that point.
  • edited July 2013 Posts: 6,396
    I was being sarcastic :-)

    It's all a matter of opinion though. Personally, I loved Newman's score. I would certainly take him over Arnold for Bond 24.

    There was nothing Bondian about Arnold's score for QoS
  • edited July 2013 Posts: 3,494
    I was being sarcastic :-)

    It's all a matter of opinion though. Personally, I loved Newman's score. I would certainly take him over Arnold for Bond 24.

    There was nothing Bondian about Arnold's score for QoS

    As a musician, I completely disagree. Lots of Barry's Bondian elements are very much there. I submit your own quote- "Although to be fair my basic knowledge of music is pretty shocking by anyone's standards so maybe not the best example".


  • Posts: 6,396
    I was being sarcastic :-)

    It's all a matter of opinion though. Personally, I loved Newman's score. I would certainly take him over Arnold for Bond 24.

    There was nothing Bondian about Arnold's score for QoS

    As a musician, I completely disagree. Lots of Barry's Bondian elements are very much there. I submit your own quote- "Although to be fair my basic knowledge of music is pretty shocking by anyone's standards so maybe not the best example".


    There's a difference to not knowing which acts are currently hitting the charts to having an opinion on whether I think a score sounds Bondian or not, which I'm sorry I don't think QoS does. Doesn't mean I'm right or wrong, just how I feel about it.
  • edited July 2013 Posts: 3,494
    Hey, no one said you can't feel the way you do. QOS shows a growth curve from TND and CR on a technical level. Even Arnold's detractors have generally admitted as much and are mostly complimentary towards that.

    Lots of brass, lush sweeping strings, and weaving the theme song in and out with variations that sometimes include instruments that fit the film locale are Barry/Bondian hallmarks. That doesn't happen here in QOS regarding the theme song, although Arnold gets the staccato part of AWTD into the boat chase. Perhaps this is what is throwing you off, but the brass and strings done in a Barry-like manner are indeed there for the most part. If you listen closely, you hear a lot of the Arnold/Black penned "No Good About Goodbye" sung by Dame Shirley much more like you hear YKMN, Surrender, and TWINE used in their respective films. I know, I know, NGAG wasn't supposed to have been written in mind for this film, but something smells wrong with that considering it was used here in a consistent manner in QOS. Not to mention the little bit of the YKMN theme in "Talamone" and the numerous "Vesper's Theme" references.

    Newman gives a lovely, yet somehow paltry nod to the offical Skyfall theme in "Komodo Dragon", and that's only because EON insisted on the theme being there. Not enough of the Bond theme either. He'll have to do better than that to make me think he's a long term better choice than Arnold or letting someone else have a crack at it.
  • edited July 2013 Posts: 6,396
    I don't dislike Arnold, I just find his scores inconsistent. TND and CR were the pick of them and I really love both YKMN and Surrender, which was far superior to Sheryl Crow's truly diabolical theme song.

    There are times in QoS that I want to hear the Bond theme, and given that Arnold deliberately held it back until the climax in CR, which worked wonderfully well by the way, I thought it was unwise to attempt the same trick here.

    Now I'm not one for wanting the Bond theme to kick in every five minutes (Michael Kamen anyone?), it should be used sparingly for the genuinely 'Bondian' moments, which occur in a film.

    Oh and one last point I do agree with you, Vesper's Theme is a just a beautiful piece of music.
  • Deakins is the obvious choice for DP. I wouldn't have bet on his return, but now with Mendes directing I wouldn't bet against it.

    I would be fine with Newman returning to score, because I thought he did a fine job on SF. I hope it isn't Arnold. His scores have generally annoyed the hell out of me or else escaped my notice entirely. I know that he has fans, but I'll never understand why.

  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 16,545
    Tipperapi wrote:
    I hope it isn't Arnold. His scores have generally annoyed the hell out of me or else escaped my notice entirely. I know that he has fans, but I'll never understand why.
    Are you saying here that you can't be objective & see what Barry influences or tributes Arnold has contributed to the franchise?
  • BigGayIslandBigGayIsland Banned
    edited August 2013 Posts: 56
    Arnold's Bond music is cheap and plastic! I would sooner they reusued some of Barry's old scores like OHMSS or The Last Valley than have my ears raped without foreplay by a pale imitation made mostly of pure noise and techno trash!!

    And now folks for a bit of limp musical impotence!


    ;))
  • chrisisall wrote:
    Tipperapi wrote:
    I hope it isn't Arnold. His scores have generally annoyed the hell out of me or else escaped my notice entirely. I know that he has fans, but I'll never understand why.
    Are you saying here that you can't be objective & see what Barry influences or tributes Arnold has contributed to the franchise?

    No, but I question the value of "influences and tributes" in the absence of inspiration and originality. Musical talent isn't passed down by apostolic succession, and Arnold has not inherited any special legitimacy from his association with Barry. He ought to be judged on his own merits.
  • edited August 2013 Posts: 135
    Oh and one last point I do agree with you, Vesper's Theme is a just a beautiful piece of music.
    Vesper's Theme is a tragically beautiful piece of work. The soft piano reminds of a newborn baby deer, struggling to stand on a frozen lake; or perhaps an advert for Alzheimer's. Therefore, it is up to caliber.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    edited August 2013 Posts: 1,113
    Hey, no one said you can't feel the way you do. QOS shows a growth curve from TND and CR on a technical level. Even Arnold's detractors have generally admitted as much and are mostly complimentary towards that.

    Lots of brass, lush sweeping strings, and weaving the theme song in and out with variations that sometimes include instruments that fit the film locale are Barry/Bondian hallmarks. That doesn't happen here in QOS regarding the theme song, although Arnold gets the staccato part of AWTD into the boat chase. Perhaps this is what is throwing you off, but the brass and strings done in a Barry-like manner are indeed there for the most part. If you listen closely, you hear a lot of the Arnold/Black penned "No Good About Goodbye" sung by Dame Shirley much more like you hear YKMN, Surrender, and TWINE used in their respective films. I know, I know, NGAG wasn't supposed to have been written in mind for this film, but something smells wrong with that considering it was used here in a consistent manner in QOS. Not to mention the little bit of the YKMN theme in "Talamone" and the numerous "Vesper's Theme" references.

    Newman gives a lovely, yet somehow paltry nod to the offical Skyfall theme in "Komodo Dragon", and that's only because EON insisted on the theme being there. Not enough of the Bond theme either. He'll have to do better than that to make me think he's a long term better choice than Arnold or letting someone else have a crack at it.

    Hell, I did not know that. NGAG would have been the far better choice then Ms Keye's maoning and groaning... But then Surrender was the better theme song for TND...

    And the thing ist that some people always wanted Barry back, but he turned down the offer for TND, and now the man barry is gone forver for more than 2 years, and now the question is, whether a worthy Bond composer just should try to imitate Barry's style or maybe bring in something completely new without denying the Bond tradition. I liked Arnold's scores for TND, CR and QOS (one of the few good things about that movie), but I also liked Newamn's work for SKYFALL.
  • SandySandy Somewhere in Europe
    Posts: 4,012
    What about Tony Lewis? Me and others here suspected he was a member here and now that I checked, he made some suspicious tweets the week the news about Mendes came out.
  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    edited August 2013 Posts: 1,113
    Okay, so here would be my list of people who should retun...

    confirmed are Sam Mendes as director, Dennis Gassner as Production designer and John Logan as author. The following actors surely will return: Daniel Craig, Ralph Fiennes (?), Naomie Harris (?), and Ben Whishaw, right? At least they have been conracted when they were internationally hired, or may I be wrong about that? If so, I stand corrected. ;)

    Actors: hopefully Jeffrey Wright as Felix Leiter
    Director of Photography: Roger Deakins (please make this happen, EON!)
    Editor: Stuart Baird
    Second Unit Director: Alexander Witt (Dan Bradley and Vic Armstrong did not fully convince me), or, if he does not return, Simon Crane.
    Music: Thomas Newman (did not think his score was that bad, quite liked it, or David Arnold
    Main Title Design: Daniel Kleinman
    (with SKYFALL he proved again (after CR) to be the right man for the job, better then MK12)
  • edited August 2013 Posts: 3,494
    Hey, no one said you can't feel the way you do. QOS shows a growth curve from TND and CR on a technical level. Even Arnold's detractors have generally admitted as much and are mostly complimentary towards that.

    Lots of brass, lush sweeping strings, and weaving the theme song in and out with variations that sometimes include instruments that fit the film locale are Barry/Bondian hallmarks. That doesn't happen here in QOS regarding the theme song, although Arnold gets the staccato part of AWTD into the boat chase. Perhaps this is what is throwing you off, but the brass and strings done in a Barry-like manner are indeed there for the most part. If you listen closely, you hear a lot of the Arnold/Black penned "No Good About Goodbye" sung by Dame Shirley much more like you hear YKMN, Surrender, and TWINE used in their respective films. I know, I know, NGAG wasn't supposed to have been written in mind for this film, but something smells wrong with that considering it was used here in a consistent manner in QOS. Not to mention the little bit of the YKMN theme in "Talamone" and the numerous "Vesper's Theme" references.

    Newman gives a lovely, yet somehow paltry nod to the offical Skyfall theme in "Komodo Dragon", and that's only because EON insisted on the theme being there. Not enough of the Bond theme either. He'll have to do better than that to make me think he's a long term better choice than Arnold or letting someone else have a crack at it.

    Hell, I did not know that. NGAG would have been the far better choice then Ms Keys moaning and groaning... But then Surrender was the better theme song for TND...

    And the thing ist that some people always wanted Barry back, but he turned down the offer for TND, and now the man Barry is gone forever for more than 2 years, and now the question is, whether a worthy Bond composer just should try to imitate Barry's style or maybe bring in something completely new without denying the Bond tradition. I liked Arnold's scores for TND, CR and QOS (one of the few good things about that movie), but I also liked Newman's work for SKYFALL.

    Always a pleasure to converse with you Herr Doctor. There's no question in my mind either that NGAG would have been a vast improvement over AWTD and that Surrender should have been the theme song of TND.

    On the originals thread (you should stop by), I presented the following thesis-

    1. Do you feel it should be a prerequisite of any prospective future composer of a Bond soundtrack to be well versed in the Barry/Bond sound and give us music that is at least a reasonable facsimile of what Barry created? This would include Martin, Kamen, and especially David Arnold as those who paid the Bond sound this respect.

    2. Or as some fans has stated, should the composer be trying to create a brand new Bond sound and not ape Barry as these same people feel Arnold, who considered Barry his mentor and acknowledged himself as a disciple, has done. They find more value in the sounds of Hamlisch, Conti, Newman, and (gulp) Serra because they don't sound like Barry.

    The unanimous choice was #1. The Barry hallmarks of sweeping and lush strings, brass, weaving and variating the title theme as an action or romantic piece into the soundtrack to give it a special identity, and of course a healthy but not overdone dose of the Bond theme being present is exactly what we want to hear in a Bond movie, and I would say EON now wants that as well. From what I've read, it's thanks to Barb and Mike stopping by to hear Newman's SF work that we got the title song written in at all. Newman wasn't going to use it and no composer should be hired for a Bond film without first understanding that these films have a certain style. No one has anything against a composer injecting some of his own style (Arnold likes his electronica but really backed off of that in QOS), and Newman was able to convey his as well in the SF soundtrack based on an overall listen to the effort. However, would you have thought the SF soundtrack sounded Bondian without the tracks "Komodo Dragon" or "Breadcrumbs" being present? None of us there would have. Newman has also stated that "Severine" was a nod to Barry, so certainly he must understand the style. These principles must be adhered to, or as we saw in 1995, it's a recipe for musical disaster! It's not that Serra himself is a bad composer, he's said in hindsight he would have done the soundtrack differently with an eye and ear towards the Barry sound, but he was given no direction to do so and so he thought he could do whatever he wanted. That's the wrong way to go and it almost happened again. I have heard a rumor or two through industry contacts that there was/is some friction between EON and Newman, so it's apparently not assured that Newman will be back. When it comes to a franchise such as Bond, Star Wars, Batman, etc the people expect and want a certain type of sound and I am hoping Newman understands that now should he do another. If he doesn't want to make the allowances Arnold has done and enjoys doing, I doubt he will. Barb and Mike are doing the right thing now and the results speak for themselves.

    I apologize if I've steered the topic off course.
  • edited August 2013 Posts: 3,494
    By the way, here's NGAG with accompanying lyrics set to the MK12 title sequence so you can compare it with AWTD-



    Published on Dec 13, 2012

    No Good About Goodbye / Rejected Theme Song /...
    Written by David Arnold and Don Black /..


    Where is the solace that I crave?
    Will it still haunt me to my grave?
    Too broken to forgive, too painful to relive now
    There may be other arms to hold
    They'll only keep me from the cold
    There always be a space, a fact I have to face now

    How long does a heart stay broken?
    How long if the pain's unspoken?
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye
    My heart is no good at pretending
    It knows that the hurts never ending
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye

    There's only so much you can give
    Only through forgets to live
    And easy thing to say
    The pass will go away now
    How long does a heart stay broken?
    How long if the pain's unspoken?
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye
    My heart is no good at pretending
    It knows that the hurts never ending
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye

    I'll never be yours so come to your senses
    Before you make your move think of the consequences

    How long does a heart stay broken?
    How long if the pain's unspoken?
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye
    My heart is no good at pretending
    It knows that the hurts never ending
    No solace in a kiss
    No comfort in the sigh
    No good about goodbye

    No good about goodbye
    No good about goodbye.
  • Posts: 6,396
    In terms of the which songs get chosen as the title theme, it goes right back to a point I made in another thread. As far as the studio is concerned, it is utterly irrelevant which is the best song, it's all about which artist(s) is going to have more of an appeal to the mass market, especially in the U.S. Therefore, Sheryl Crow was always going to win out over KD Lang and White/Keys were always going to be picked ahead of Dame Shirley. To any fool, it's clear that both Surrender and No Good About Goodbye are the far superior tracks, but this is Hollywood where only the money (and bulls***) matters!
  • edited August 2013 Posts: 3,494
    In terms of the which songs get chosen as the title theme, it goes right back to a point I made in another thread. As far as the studio is concerned, it is utterly irrelevant which is the best song, it's all about which artist(s) is going to have more of an appeal to the mass market, especially in the U.S. Therefore, Sheryl Crow was always going to win out over KD Lang and White/Keys were always going to be picked ahead of Dame Shirley. To any fool, it's clear that both Surrender and No Good About Goodbye are the far superior tracks, but this is Hollywood where only the money (and bulls***) matters!

    You're right Willy. These decisions were Hollywood bulls**t all right. Absolutely horrible to disrespect the legendary Dame Shirley Bassey like this.

  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,113
    Sir Henry, I only can return the compliment, and I fully agree on both your and WillyGalore's point of view. So, let's see, whether Newman will be hired again, and if so, whether he then will be following the Bond/Barry tradition. Michael Giacchino would also be fine for me, as would Craig Armstrong. And although I like a lot of Hans Zimmer's work, I would not want him to score Bond 24, as he usually overscores movies. Eric Serra is a good composer, his score for THE BIG BLUE is beautiful and adds up to make it a great thing. His score for THE PROFESSIONELL is also good, it works within the movie, but I still think, he was the wrong choice for GE. I also read back then, that he claimed, that Martin Campbell did not use the music as he, Serra, wanted it to be, claiming that his music was supposed to be played at full volume.
  • edited August 2013 Posts: 3,494
    Sir Henry, I only can return the compliment, and I fully agree on both your and WillyGalore's point of view. So, let's see, whether Newman will be hired again, and if so, whether he then will be following the Bond/Barry tradition. Michael Giacchino would also be fine for me, as would Craig Armstrong. And although I like a lot of Hans Zimmer's work, I would not want him to score Bond 24, as he usually overscores movies. Eric Serra is a good composer, his score for THE BIG BLUE is beautiful and adds up to make it a great thing. His score for THE PROFESSIONAL is also good, it works within the movie, but I still think, he was the wrong choice for GE. I also read back then, that he claimed, that Martin Campbell did not use the music as he, Serra, wanted it to be, claiming that his music was supposed to be played at full volume.


    What Newman will do if rehired is indeed the big question in my mind.

    I don't recall any of Armstrong's work so I'll research and listen to some things of his. I am familiar with Zimmer and not sure either way how he would do in the Bond composer chair. He's definitely created "franchise music" for the Batman series which gives those films musical consistency, but would he follow Barry's lead or give us Batman transposed onto Bond is always going to be the question. And since Barry created "franchise music" for Bond-
    Tipperapi wrote:
    chrisisall wrote:
    Tipperapi wrote:
    I hope it isn't Arnold. His scores have generally annoyed the hell out of me or else escaped my notice entirely. I know that he has fans, but I'll never understand why.
    Are you saying here that you can't be objective & see what Barry influences or tributes Arnold has contributed to the franchise?

    No, but I question the value of "influences and tributes" in the absence of inspiration and originality. Musical talent isn't passed down by apostolic succession, and Arnold has not inherited any special legitimacy from his association with Barry. He ought to be judged on his own merits.

    This is an example of the #2 approach of my thesis that Bond films don't need. Originality must fit within the established parameters and not go off into uncharted and unfamiliar territory. Exactly why Serra failed and why Newman almost did without Barb and Mike saving the day!

  • DoctorKaufmannDoctorKaufmann Can shoot you from Stuttgart and still make it look like suicide.
    Posts: 1,113
    Sir Henry, I only can return the compliment, and I fully agree on both your and WillyGalore's point of view. So, let's see, whether Newman will be hired again, and if so, whether he then will be following the Bond/Barry tradition. Michael Giacchino would also be fine for me, as would Craig Armstrong. And although I like a lot of Hans Zimmer's work, I would not want him to score Bond 24, as he usually overscores movies. Eric Serra is a good composer, his score for THE BIG BLUE is beautiful and adds up to make it a great thing. His score for THE PROFESSIONAL is also good, it works within the movie, but I still think, he was the wrong choice for GE. I also read back then, that he claimed, that Martin Campbell did not use the music as he, Serra, wanted it to be, claiming that his music was supposed to be played at full volume.


    What Newman will do if rehired is indeed the big question in my mind.

    I don't recall any of Armstrong's work so I'll research and listen to some things of his. I am familiar with Zimmer and not sure either way how he would do in the Bond composer chair. He's definitely created "franchise music" for the Batman series which gives those films musical consistency, but would he follow Barry's lead or give us Batman transposed onto Bond is always going to be the question. And since Barry created "franchise music" for Bond-
    Tipperapi wrote:
    chrisisall wrote:
    Tipperapi wrote:
    I hope it isn't Arnold. His scores have generally annoyed the hell out of me or else escaped my notice entirely. I know that he has fans, but I'll never understand why.
    Are you saying here that you can't be objective & see what Barry influences or tributes Arnold has contributed to the franchise?

    No, but I question the value of "influences and tributes" in the absence of inspiration and originality. Musical talent isn't passed down by apostolic succession, and Arnold has not inherited any special legitimacy from his association with Barry. He ought to be judged on his own merits.

    This is an example of the #2 approach of my thesis that Bond films don't need. Originality must fit within the established parameters and not go off into uncharted and unfamiliar territory. Exactly why Serra failed and why Newman almost did without Barb and Mike saving the day!


    For Armstrong check out THE QUIET AMERICAN (a very good spy thriller) or PLUNKETT & MACLEAN (the screenplay being written by P&W).

    Or check out this:





















    And maybe the most famous one:


  • M_BaljeM_Balje Amsterdam, Netherlands
    edited September 2015 Posts: 3,804
    Returning Crew members for Bond 25 you like to see:

    Production Designer: Dennis Gassner
    Set Decorator: Anna Pinnock
    Costume Designer: Jany Temime
    Maintitle: Daniel Kleinman

    On this moment i whant other writers then P&W and and i also think it is time for another second united directer. For cinematopgrapher & composer i whant first see what Hoyte Van Hoytema & Thomas Newman deliever. But Steve Price is stil on my list to see what he make for music. OF course it is no secret people mabey whant Adele back for Bond 25 and then i hope Thomas Newman learn from mistakes with Skyfall.

    Debbie McWilliams is long time family member like costume designer Lindy Hemming whas (I whas very happy she whas replaced with QOS), but i think it time she get some help from co-casting directer. The mexican actres looks like a very good choose, but it shame that it needed demend from mexican coverment first. Also i am a bit bored there casting another France actres for the lead in Spectre. Also a reasen why it is mabey time for other writers, whyle dropping them is risk. But there already take a risc with way i think it go and Risico is also one titles options i think there consider/ use for movie.

    Expect to return:

    Writers: Neal Pervis & Robert Wade and Jez Butterworth (Return from Spectre)
    Production Designer: Dennis Gassner
    Set Decorator: Anna Pinnock
    Costume Designer: Jany Temime
    Composer: Thomas Newman
    Maintitle: Daniel Kleinman
    Casting: Debbie McWilliams
    2th United Directer: Alexander Witt (But as said i whant another one)
    Editor: Lee Smith
    Cinematopgrapher: Every movie get another one, mabey Hoyte Van Hoytema wil be first who will do 2 movies in row. Inspecialy if nightmare wil be true and Nolan wil direct then he wil keep Smith and Hoytema.
  • QBranchQBranch Always have an escape plan. Mine is watching James Bond films.
    Posts: 11,744
    I'd like to see Craig return in some form, whether co-producer or other role.

    BTW, I can't see the role of 'continuity' on imdb. Is 'set decorator' another term for continuity, or is someone else responsible for that?
  • M_BaljeM_Balje Amsterdam, Netherlands
    Posts: 3,804
    Robert Elswit (Tomorrow Never Dies) is not ask back for a 3th Mission Impossible movie and don't have movie yet for 2018. So this made him avaible for let him return to Bond.

    But i don't mind if Hoytema return. Also Lee Smith can return from Spectre in my opnion. Stil like to see new second united directer and new composer.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited November 23 Posts: 3,804
    Bond 26 time.

    I expect to return:

    Alexander Witt ... Second United Directer
    Gary Powell ... Stunt supervisor/coordinator. With Skyall he did second united directer work and i think it was good he did not this again.

    I stil like to see Eon consider Safe House (2012) directer and those two working on it too. Whyle i my opnion about re-consider somebody ele's for those two and Chris Corbould (Special effects guy) is not changed. Chris Corbould should be replaced for atleast one movie. I think there should ask Jules O'Loughlin (The Hitman's Bodyguard, Angel Has Fallen) as Directer of Photograhy/Cinematographer. If not there can stil go for Linus Sandgren (NTTD).

    Debbie McWilliams .... Casting

    Should return from NTDD:
    Mark Tildesley ... Production Designer and mabey some of the Art directers (if there not be local based like Italian person). I don't have problem with it if Dennis Gassner and his QOS Art Directers returns if there not be avaible/don't whant to return. But i stil hope he wil, inspecialy because he working with Paul Thomas Anderson (The Master) on Phantom Thread who i like to see direct and write Bond movie since The Master. This also count for Véronique Melery who replaced Anna Pinnock with NTTD can return as set dresser.

    Anna Pinnock (QOS, Skyfall, Spectre) was not avaible because betrayed Bond for Nolan ;) and again wil not be avaible with working on Indiana Jones 5 and Fantastic Beast movies.

    If not Mark Tildesley return then production designer of The Master can take over. Paul Thomas Anderson also did Cinematopgraphy for Thantom Thread, but i think it is better that have another extra person and he ask the guy from The Master. IF needed there can ask Robert Elwit back who working on Anderson There Will Be Blood and on Tomorrow Never Dies.

    Suttirat Anne Larlarb ... Costume Designer
    Tom Cross & Elliot Graham ... Editors
    Hans Zimmer ... Composer

    Mabey:

    Phoebe Waller-Bridge as writer. She must have written parts of Valdo. Are she and Cary Joji Fukunaga also responsible for trowbacks to Goldeneye in NTTD. Producers possible ask them to do something with 25 years of Goldeneye. Phoebe Waller-Bridge and directer (Paul Thomas Anderson or Cary Joji Fukunaga) as writers, mabey it wil work. Atleast there should be second or 3th writer. Realy don't know what uncredit Bourne Ultimatum at on NTTD, but i think not much or nothing.

    Cary Joji Fukunaga. Of course i whant to see movie again. But he need help from better writers.

    Daniel Kleiman. I fist whant to see movie for second view, but it possible he losing his magic a bit.

    Adele. My wish is that she return for Bond 27, but she have new album now and over 2 years or so i expect she can use it and Bond mabey too. Whyle from other side Amazon is helping MGM (and Universal ?) making the next one and there have now enough money to pay Beyonce. Overall i prefer a group or Elton John doing the next title song.

    No Return:
    Neal Pervis and Robert Wade. Only as inspyred writers in the end credits if realy needed. Like my earlier sugestion for Bond 25 that Marc Forster and Sam Mendes should get Excutive Producer credit.
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