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That's a very good point as well. The Euros do a bit of a rushed song and visual performance on the field about an hour before the first match. They aren't exactly cutting edge or well organised/produced because fans don't exactly like the overproduction of matches.
Having Bond in something like that probably wouldn't work very well. I think the best way to do marketing would be to have trailers between halves, the presenters mention the film and show Bond films on ITV after England matches.
This is all in the assumption however they'd aim for summer 2028 because of the Euros, which is very unlikely. The film will probably be released when it's ready, if it so happens to come out in mid-July 2028, the Euros could be an opportunity
Yeah, I agree. I mean, if it's a later 2028 release (so autumn or even a bit later into the year), by all means have the teaser trailer play during adverts if it's being released at that time anyway (that's how most films are advertised through the Euros, and it's a good spot). I'm not sure if I can see the next Bond actor being part of the Cardiff opening ceremony though nor can I see Bond 26 and the Euros being linked spiritually.
So even if Villeneuve being tied up with Dune is a factor, yes, 2027 could well be on the cards!
I simply believe there's a large segment of the crowd that goes nuts for big sports events that couldn't care less about a new film in theatres, and vice versa.
As for Amazon, I suppose the world is not enough: they target everyone. But not with the same products.
There was a lot of people who went to see Skyfall that didn't care about the London Olympics in 2012, but it doesn't change the fact it had an impact on the films success.
I'm not saying that such things don't impact each other somewhat, but I wouldn't want to exaggerate their mutual impact either.
So if you're admitting there is a positive impact, why would that be something the filmmakers should wish to avoid?
Unless Amazon and the producers of Dune have negotiated this-- and all one has to do is look at Henry Cavill''s mustache controversy to see how producers help producers- this is exceptionally unlikely to happen. It's baked into the contract of big tent pole pics, with big-time directors to do press and premieres.
And press tours can last for a couple to three months depending on how they stagger the release worldwide.
I think it’s too minor an issue to take into account. It’s hard enough just to avoid clashing with other film releases.
I'd say a big yes to him joining. It's a shame that his dad didn't. Roger Moore just played it too damn long.
Please don't project your personal assumptions about how others think or feel. Rest assured I'm not offended, I just don't like to see what I said rewritten into something I didn't say
True dat, they need to understand what that change is, which could be an irrevocable change brought about by technology (internet, smart phones etc) or it could be something they are doing wrong (too much political correctness or other agenda), I'm sure we will all have varying theories on what is happening and the truth will be some combination of both.
Bourne was a film trend in the same genre, so no surprise Bond had to respond to it.
I'm sure you'll tell me if I'm wrong, but I don't think Bond has featured any Middle Eastern terrorist style villians. Silva carried out terrorist acts, but they were carried out for personal revenge rather than to further any political ideology, which makes him similar to Renard or Trevelyan, who are both pre 9/11. Le Chiffe was an unprincipled arms dealer who was prepared to use inside information about terrorism to make a fast buck, but otherwise apolitical.
I doubt any of the things you mentioned are suitable for a Bond movie, other than "the rise of..." Totalitarianism in any form, be it right or left, which is a timeless theme.
I'm not sure "overtly" is the right term, I'm sure Villeneuve intends any wider political message contained in the film to be "subtle"
The political themes in Dune have been around as long as humans have engaged in politics, and always remain relevant, just as they were when the book was published in 1965.
Thats fine, but James Bond isn't that sort of movie and never has been
There's about as much chance of that happening as reviving the "Carry On" franchise with a political slant
Although, come to think of it, "Carry On Brexit" might have some possibilities?
I guess we'll find out in due course
I don't think we are going to see a light Bond film for a very long time. And that's okay. We had many, many light Bond films.
It's not a coincidence that most of the light Bond films predated Die Hard.
Yes, I do understand that the James Bond films have preferred to use fictional analogues for its villains. But there are other examples that tilt closer to what I'm suggesting. The plots of For Your Eyes Only, Octopussy, A View To A Kill, The Living Daylights and License To Kill are a Cold War time capsule that captured the personality, culture, anxieties and politics of the 1980s. I think more so than any other decade, save for our near twenty years with Daniel Craig, Bond had something to say. The Bond films of other times are awash in the trends of their respective decades. But those John Glen-directed films were not simply stylishly 80s, they were intentional reflections on the geopolitics of their day.
The Bond franchise needs to differentiate itself from all the other genre blockbusters that aren't connecting with audiences. I think one way to do that, in the spirit of the 80's films, is to hew closer to reality. We live in big times with big stakes and big and problems. We're all holding our breaths. Maybe Bond could be that cathartic release.
Embracing reality doesn't have to exclude fantasy and wish-fulfillment. I cite Tarantino's Inglorious Basterds, Django and Once Upon A Time In Hollywood as loose examples of how filmed fiction can honor and examine and heighten real tragedy for popular entertainment. nd be honored for it. It may not be the way, but its something that hasn't been done with Bond on film. Audiences want an immersive experience. Audiences will pay for things that are entertaining and have something to say.