No Time to Die production thread

1116111621164116611671208

Comments

  • Posts: 500
    New footage and dialogue:


    That cut from Bond at the Swann/White house to Safin is so, so good.
  • DonnyDB5DonnyDB5 Buffalo, New York
    Posts: 1,755
    I’m guessing that shot of Safin firing the pistol occurs after he & Bond meet.
  • Posts: 6,665
    Is this one new? I've lost count.

  • silva13silva13 Australia
    edited September 2021 Posts: 198
    Wow!

    Sorry I didn't realise it's already been shared.
    This is so exciting to be so close to a release now!
  • Posts: 12,242
    silva13 wrote: »
    Wow!

    So much hype. I still can’t get over how much I love the delivery of the nothing left to save line.
  • silva13silva13 Australia
    Posts: 198
    FoxRox wrote: »
    silva13 wrote: »
    Wow!

    So much hype. I still can’t get over how much I love the delivery of the nothing left to save line.

    It feels very raw and I love it. So excited to see it play on the big screen! The "it isn't kind to play god" feels very Fleming too!
  • skropper13skropper13 United States
    Posts: 117
    Stark wrote: »
    You can’t deny that it’s a bad sign that they aren’t having critics see it early. If it was Skyfall good they would want to market with those critics reviews ASAP

    If the film is bad, why are they showing it at the Zurich festival ? And we have 2 reliable sources (Deadline and Baz Bamigboye) who have indicated that the film is very good so I'm not worried.

    Did they release reviews? Or are they just doing the standard “I’m hearing it’s good”? I can’t find anything and have been looking desperately for some kind of indication there are screenings. TIA

  • StarkStark France
    Posts: 177
    skropper13 wrote: »
    Stark wrote: »
    You can’t deny that it’s a bad sign that they aren’t having critics see it early. If it was Skyfall good they would want to market with those critics reviews ASAP

    If the film is bad, why are they showing it at the Zurich festival ? And we have 2 reliable sources (Deadline and Baz Bamigboye) who have indicated that the film is very good so I'm not worried.

    Did they release reviews? Or are they just doing the standard “I’m hearing it’s good”? I can’t find anything and have been looking desperately for some kind of indication there are screenings. TIA

    Deadline : "Those outside of MGM who’ve seen the movie say it’s amazing, and well worth the wait."

    And Baz Bamigboye said 2 times that he had heard very good things about the film. The last time he said that was before Skyfall.

    These are not reviews but they are very reliable sources.
  • Posts: 500
    Alleged China release date: October 29th

  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    Finally!
  • phantomvicesphantomvices Mother Base
    Posts: 469
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

  • silva13silva13 Australia
    Posts: 198
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

    His definitely pointing at something! Ha!
    My eyes immediately go to the wall and remind me of Dr No's aquarium although it looks to be painted and there even seems to be a ladder there like it's unfinished. Perhaps like a child's room almost?
  • QBranchQBranch Always have an escape plan. Mine is watching James Bond films.
    Posts: 13,879
    Love the colours in the background.
  • Posts: 500
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

    Bottom picture has extreme "when your kid tries to sneak back in at 1 in the morning" energy.
  • NickThunderballsNickThunderballs Australia
    Posts: 133
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

    If you guys look in the background, you’ll see a round skylight…similar to the one in the trailers showing Safin pointing a pistol at someone.
  • silva13silva13 Australia
    Posts: 198
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

    If you guys look in the background, you’ll see a round skylight…similar to the one in the trailers showing Safin pointing a pistol at someone.

    And we know Safin fires the gun in that spot now too, quite wildly.
    Wild speculation but considering how dangerous they're building him up would it be possible that
    Safin tries to kill Mathilde. In the trailer it looks like his aiming quite low.
  • MalloryMallory Do mosquitoes have friends?
    edited September 2021 Posts: 2,035
    Being James Bond, the Daniel Craig Documentary that is currently on AppleTV, is being broadcast on ITV1 on Sunday 26th September at 10:20pm (UK).

    Also, Diamonds are Forever Is on ITV1, same day, 2:10pm to 4:30pm.
  • Posts: 3,333
    antovolk wrote: »
    Not sure I follow your logic? Yes, the director, editor, composer and post-production team had to meet their release dates which were always locked in. And yes, the press screenings always came before the release dates... so obviously they screened the movies earlier rather than later. Nevertheless, they always met those release dates

    What I meant was that on a lot of other films - where the embargo thing is more a norm - the film is done some time earlier, allowing it to screen to press for the first time potentially weeks/months before release date (particularly important for print publications that need to meet early print deadlines). With the recent Bonds the first screening to press altogether was week before release.

    And to add, it's not just Blade Runner that's specifically asking critics to refrain from revealing specific spoilers in reviews...I'm hearing of so many films, even TV shows now, where the studios broadcasters are strict about all this with reviews. But yes, very recent development that's really only come into play in the six years since Spectre. There's a lot more attention being paid to all this, and a lot of trying to play the game so to say. Another tactic many studio film use nowadays is 'social embargoes', allowing social media reactions from press to a film, but forbidding full reviews until closer to release date. Some films, like the new Venom film, purposefully have screenings for 'fans' first (one happened earlier this week) and allow them to discuss, while professional critics are not allowed until said embargo.

    Btw, new feature in the Times with interviews https://www.thetimes.co.uk/article/why-bond-will-never-be-the-same-again-after-no-time-to-die-zg8sn8d6l
    Thanks for your detailed reply @antovolk. Personally, I think they're fighting a losing battle. Audiences now want to know if a movie is worth their money and time before going in and no longer trust all access media critics to give an honest opinion. The new Venom movie sounds like Sony have the right approach by allowing fans to go see it first and discuss it afterwards.

    You probably don't remember the old days, like before The Empire Strikes Back came out, but I remember a newspaper splashing "I'm Your Daddy!" over a photo of Darth Vader and Luke Skywalker. It still didn't effect the box office. I guess audiences weren't so precious and sensitive back then. I know I didn't care. If the movie is good, I'll watch it.
  • Mallory wrote: »
    Being James Bond, the Daniel Craig Documentary that is currently on AppleTV, is being broadcast on ITV1 on Sunday 26th September at 10:20pm (UK).

    Also, Diamonds are Forever Is on ITV1, same day, 2:10pm to 4:30pm.

    Thanks for the heads up Mallory! Also, it's probably been mentioned, so apologies if it has, but there is 007: The Daniel Craig Years on Sky Showcase next Saturday evening at 7.20-8.20pm in the UK too.
  • ContrabandContraband Sweden
    Posts: 3,018
    Don't know if this has been posted? A slightly diff. promo for the Defender with footage from the stunt driving in Scotland. Some new footage I think.



  • 00Heaven00Heaven Home
    Posts: 573
    I don't know if anyone's posted it yet but on IG the 007 page has a new story which seems to have a few more milliseconds of footage. It's probably gone by now as I think its been over 24 hours :/.
  • ContrabandContraband Sweden
    Posts: 3,018
    00Heaven wrote: »
    I don't know if anyone's posted it yet but on IG the 007 page has a new story which seems to have a few more milliseconds of footage. It's probably gone by now as I think its been over 24 hours :/.

    https://www.instagram.com/stories/highlights/17932842331670602/

    Can't save the damn thing but the last one I think has new footage - baddies blown up in Safins bunker

  • edited September 2021 Posts: 6,727
    Mallory wrote: »
    Being James Bond, the Daniel Craig Documentary that is currently on AppleTV, is being broadcast on ITV1 on Sunday 26th September at 10:20pm (UK).

    Also, Diamonds are Forever Is on ITV1, same day, 2:10pm to 4:30pm.

    Anyone here in Republic of Ireland?
    Being JanesBond doc is on tonight on RTE 2 at 8pm!
    Preceded by TMWTGG showing!
  • Posts: 250

    BMB007 wrote: »
    New footage and dialogue:


    That cut from Bond at the Swann/White house to Safin is so, so good.

    I'm starting to wonder if perhaps the Madeline flashback is fragmented throughout the film or indeed plays out in full later rather than being the actual presumed opening scene...
  • Posts: 500
    silva13 wrote: »
    Two interesting screenshots from the newer bunch of trailers, seeming to show the aftermath of Bond finding Madeleine at Safin's lair. Note that at this point he still hasn't left his jumper to her and Mathilde. This is also a room we haven't seen yet from the lair.

    unknown.png?width=731&height=304

    unknown.png?width=731&height=304

    If you guys look in the background, you’ll see a round skylight…similar to the one in the trailers showing Safin pointing a pistol at someone.

    And we know Safin fires the gun in that spot now too, quite wildly.
    Wild speculation but considering how dangerous they're building him up would it be possible that
    Safin tries to kill Mathilde. In the trailer it looks like his aiming quite low.

    Oh man — that would be such a tense, tense moment. What a fear they would feel.
  • ContrabandContraband Sweden
    Posts: 3,018
    Read second slide image:


    //

    From filmscoremonthly forum:

    Posted: Sep 18, 2021 By: mortenbond (Member)
    I have been fortunate to receive an advance copy of the score. Made available to the press. Just had a quick listen to some of the cues. This is much better than I anticipated. Not a Zimmer sound design experiement at all. Very, very melodious in the slower cues. The action cues are a cross between Arnolds QoS and Newman. The brass is as Bondian as you can get. And. And. Boys and girls….John Barry is in there. Not just as an inspiration. Actual quotes from We Have All the Time in the World. Intervoven with snippets of the Eilish song. And a full, slower version of Barry’s OHMSS main titles. The James Bond theme is in there, but sparingly. Muscular, pounding phrases of it. Might be more of it in the film, than on the score. Not much Marr-guitar to be heard, so far.



    score review by Benjamin Lind from "The Bond Bulletin" :

    Without giving away anything, the second track ("Matera") creates instant goosebumps as it contains a musical cue that Bond fans across the globe cherish very much (no...it's not the JB theme yet). It is poignant.

    Although there are many audible influences of David Arnold and Thomas Newman, Zimmer's brute and violent side shines through and dominates much of the score.

    The Cuba track starts very erratic and continues the overall drum-driven score. A highlight mid-track is the short shift into a few second of Cuban Mambo...or is it a Cha-Cha...Salsa even? ?? Then, quite abruptly, back into brutal drums. It's like a rollercoaster ride.

    The Bond theme is appropriately used throughout with those moody guitar riffs beautifully shining through. "Back to MI6" utilises the prominent part of the Bond theme.

    And then again...goosebumps! Track 11 ("Good to have you back") is an entire rendition of another theme of the series. Quite a surprise. The piano segments of the Billie Eilish title song make an appearance in the next track, halfway through the score. Track 13 delivers a title theme rendition in quite a haunting manner.

    The Norway Chase is typical Zimmer - drums, choir and strings, infused with Bond-esque trumpets. For the final 90 seconds it picks up considerable pace but fails to impress me.

    From track 15 onwards, Zimmer presents the finale of the film. At first, it's minimalistic and eerie, especially Track 17 ("The Factory") which features long, ascending string segments. Track 19 ("Opening the Doors") goes back to full-blown action with rich drum/trumpet arrangements and thick layers of usual Zimmer overload.

    The final track before the Billie Eilish title theme, entitled "Final Ascent", starts subtle and then turns somewhat melancholic, repeating the title theme piano and reducing the track down to it. Where I expected an action piece, I got a very strange and incredibly sad vibe from the music...like something big was ending. Soaring strings and piano that have the potential to make you tear up. It sounds like deep pain and big loss. The end is abrupt and it leaves you with a big question mark. It is the end of an era and I think, the music reflects that well.

    Overall, Zimmer's score is a mix of moody pieces, nostalgic excursions to past Bond scores and ear-piercing, drum-laden action tracks á la Zimmer. Musically, it fits well into the Daniel Craig era sound but I would personally rate it much higher than what Thomas Newman delivered for the last two films. My favourite part is the first half (Tracks 01 - 13), after that I didn't really feel any connection to it without having seen the film itself.


  • Posts: 500
    Contraband wrote: »
    Read second slide image:


    //

    From filmscoremonthly forum:

    Posted: Sep 18, 2021 By: mortenbond (Member)
    I have been fortunate to receive an advance copy of the score. Made available to the press. Just had a quick listen to some of the cues. This is much better than I anticipated. Not a Zimmer sound design experiement at all. Very, very melodious in the slower cues. The action cues are a cross between Arnolds QoS and Newman. The brass is as Bondian as you can get. And. And. Boys and girls….John Barry is in there. Not just as an inspiration. Actual quotes from We Have All the Time in the World. Intervoven with snippets of the Eilish song. And a full, slower version of Barry’s OHMSS main titles. The James Bond theme is in there, but sparingly. Muscular, pounding phrases of it. Might be more of it in the film, than on the score. Not much Marr-guitar to be heard, so far.



    score review by Benjamin Lind from "The Bond Bulletin" :

    Without giving away anything, the second track ("Matera") creates instant goosebumps as it contains a musical cue that Bond fans across the globe cherish very much (no...it's not the JB theme yet). It is poignant.

    Although there are many audible influences of David Arnold and Thomas Newman, Zimmer's brute and violent side shines through and dominates much of the score.

    The Cuba track starts very erratic and continues the overall drum-driven score. A highlight mid-track is the short shift into a few second of Cuban Mambo...or is it a Cha-Cha...Salsa even? ?? Then, quite abruptly, back into brutal drums. It's like a rollercoaster ride.

    The Bond theme is appropriately used throughout with those moody guitar riffs beautifully shining through. "Back to MI6" utilises the prominent part of the Bond theme.

    And then again...goosebumps! Track 11 ("Good to have you back") is an entire rendition of another theme of the series. Quite a surprise. The piano segments of the Billie Eilish title song make an appearance in the next track, halfway through the score. Track 13 delivers a title theme rendition in quite a haunting manner.

    The Norway Chase is typical Zimmer - drums, choir and strings, infused with Bond-esque trumpets. For the final 90 seconds it picks up considerable pace but fails to impress me.

    From track 15 onwards, Zimmer presents the finale of the film. At first, it's minimalistic and eerie, especially Track 17 ("The Factory") which features long, ascending string segments. Track 19 ("Opening the Doors") goes back to full-blown action with rich drum/trumpet arrangements and thick layers of usual Zimmer overload.

    The final track before the Billie Eilish title theme, entitled "Final Ascent", starts subtle and then turns somewhat melancholic, repeating the title theme piano and reducing the track down to it. Where I expected an action piece, I got a very strange and incredibly sad vibe from the music...like something big was ending. Soaring strings and piano that have the potential to make you tear up. It sounds like deep pain and big loss. The end is abrupt and it leaves you with a big question mark. It is the end of an era and I think, the music reflects that well.

    Overall, Zimmer's score is a mix of moody pieces, nostalgic excursions to past Bond scores and ear-piercing, drum-laden action tracks á la Zimmer. Musically, it fits well into the Daniel Craig era sound but I would personally rate it much higher than what Thomas Newman delivered for the last two films. My favourite part is the first half (Tracks 01 - 13), after that I didn't really feel any connection to it without having seen the film itself.

    I'd say that paragraph on "Final Ascent" says a lot about what the ending is — some finality, yet lingering questions. Wonder what that question is? "Deep pain and big loss" is fairly concrete about what's going on.

  • matt_umatt_u better known as Mr. Roark
    Posts: 4,343
    BMB007 wrote: »
    Contraband wrote: »
    Read second slide image:


    //

    From filmscoremonthly forum:

    Posted: Sep 18, 2021 By: mortenbond (Member)
    I have been fortunate to receive an advance copy of the score. Made available to the press. Just had a quick listen to some of the cues. This is much better than I anticipated. Not a Zimmer sound design experiement at all. Very, very melodious in the slower cues. The action cues are a cross between Arnolds QoS and Newman. The brass is as Bondian as you can get. And. And. Boys and girls….John Barry is in there. Not just as an inspiration. Actual quotes from We Have All the Time in the World. Intervoven with snippets of the Eilish song. And a full, slower version of Barry’s OHMSS main titles. The James Bond theme is in there, but sparingly. Muscular, pounding phrases of it. Might be more of it in the film, than on the score. Not much Marr-guitar to be heard, so far.



    score review by Benjamin Lind from "The Bond Bulletin" :

    Without giving away anything, the second track ("Matera") creates instant goosebumps as it contains a musical cue that Bond fans across the globe cherish very much (no...it's not the JB theme yet). It is poignant.

    Although there are many audible influences of David Arnold and Thomas Newman, Zimmer's brute and violent side shines through and dominates much of the score.

    The Cuba track starts very erratic and continues the overall drum-driven score. A highlight mid-track is the short shift into a few second of Cuban Mambo...or is it a Cha-Cha...Salsa even? ?? Then, quite abruptly, back into brutal drums. It's like a rollercoaster ride.

    The Bond theme is appropriately used throughout with those moody guitar riffs beautifully shining through. "Back to MI6" utilises the prominent part of the Bond theme.

    And then again...goosebumps! Track 11 ("Good to have you back") is an entire rendition of another theme of the series. Quite a surprise. The piano segments of the Billie Eilish title song make an appearance in the next track, halfway through the score. Track 13 delivers a title theme rendition in quite a haunting manner.

    The Norway Chase is typical Zimmer - drums, choir and strings, infused with Bond-esque trumpets. For the final 90 seconds it picks up considerable pace but fails to impress me.

    From track 15 onwards, Zimmer presents the finale of the film. At first, it's minimalistic and eerie, especially Track 17 ("The Factory") which features long, ascending string segments. Track 19 ("Opening the Doors") goes back to full-blown action with rich drum/trumpet arrangements and thick layers of usual Zimmer overload.

    The final track before the Billie Eilish title theme, entitled "Final Ascent", starts subtle and then turns somewhat melancholic, repeating the title theme piano and reducing the track down to it. Where I expected an action piece, I got a very strange and incredibly sad vibe from the music...like something big was ending. Soaring strings and piano that have the potential to make you tear up. It sounds like deep pain and big loss. The end is abrupt and it leaves you with a big question mark. It is the end of an era and I think, the music reflects that well.

    Overall, Zimmer's score is a mix of moody pieces, nostalgic excursions to past Bond scores and ear-piercing, drum-laden action tracks á la Zimmer. Musically, it fits well into the Daniel Craig era sound but I would personally rate it much higher than what Thomas Newman delivered for the last two films. My favourite part is the first half (Tracks 01 - 13), after that I didn't really feel any connection to it without having seen the film itself.

    I'd say that paragraph on "Final Ascent" says a lot about what the ending is — some finality, yet lingering questions. Wonder what that question is? "Deep pain and big loss" is fairly concrete about what's going on.

    Final Ascent screams
    sacrifice
    .
Sign In or Register to comment.