No Time To Die: Production Diary

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  • Posts: 6,709
    ToTheRight wrote: »
    We’re calling him “the great Fukunaga” now? I’m as excited to see his Bond film as anyone, but maybe let’s see his Bond film first.

    I'd never heard of him before he got B25, to be honest.

    Well, many hadn’t heard of Kubrick before 2001, or even Spartacus. Many others had been following his earlier works.

  • QQ7QQ7 Croatia
    Posts: 371
  • RC7RC7
    Posts: 10,512
    Love my stuff
    Walecs wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    A complete list of theatrical feature films Daniel Craig has starred in since his last Bond movie:

    Logan Lucky
    Kings

    Why would the great Fukunaga want to work with someone as second rate as Craig?

    Lovely stuff.
  • edited November 2018 Posts: 5,767
    Univex wrote: »
    Believe the hype, he already is The Great Fukunaga. Don’t believe me? we’ll talk in a few years from now.
    He made me lose interest in Maniac after two-and-a-half episodes, I wouldn't call that great.
    Beasts of no Nation is great though.
    TD is too long but has greatness.


    Univex wrote: »
    ToTheRight wrote: »
    We’re calling him “the great Fukunaga” now? I’m as excited to see his Bond film as anyone, but maybe let’s see his Bond film first.

    I'd never heard of him before he got B25, to be honest.

    Well, many hadn’t heard of Kubrick before 2001, or even Spartacus. Many others had been following his earlier works.
    And many don't care for his films before or since 2001.
    Anyhow, Kubrick has nothing to do with Bond.

  • I will have to kindly but radically disagree. I don't want Felix to have any kind of an arc that bears any sort of similarity to how M was given the treatment in SF. That was an awful one, self-important and very pretentious like one of the members here said.

    Felix, first and foremost, is a supporting character who, while being a capable CIA counterpart to Bond, is an ally. I don't want the LTK treatment, either. The best we could do as to demonstrate Felix's skills and capability is to have him planted in a terrorist organization posing as a mole, and just so happens Bond's path crosses Leiter's very own.

    I agree. I think that the Mathis and Leiter characters should, in the films, be used as friendly exposition machines. They arrive, help Bond out, fill in the back story a bit, and leave. That's not to say that they're unimportant or that they shouldn't be well cast.
  • edited November 2018 Posts: 3,333
    I have to agree with @boldfinger with losing interest in Maniac. It failed to grab me also. However, I totally disagree on the subject of Kubrick. If one doesn't appreciate Kubrick either pre or post 2001, then I honestly don't care for that person's opinions on movies. Plus, Kubrick does have a Bond connection: he setup the lighting for the Tanker Liparus set on TSWLM designed by Ken Adams as no-one knew how to light it properly.
  • Posts: 6,709
    bondsum wrote: »
    I have to agree with @boldfinger with losing interest in Maniac. It failed to grab me also. However, I totally disagree on the subject of Kubrick. If one doesn't appreciate Kubrick either pre or post 2001, then I honestly don't care for that person's opinions on movies. Plus, Kubrick does have a Bond connection: he setup the lighting for the Tanker Liparus set on TSWLM designed by Ken Adams as no-one knew how to light it properly.

    Was about to make a similar intervention. Thank you, @bondsum.
  • edited November 2018 Posts: 654
    bondsum wrote: »
    I have to agree with @boldfinger with losing interest in Maniac. It failed to grab me also. However, I totally disagree on the subject of Kubrick. If one doesn't appreciate Kubrick either pre or post 2001, then I honestly don't care for that person's opinions on movies. Plus, Kubrick does have a Bond connection: he setup the lighting for the Tanker Liparus set on TSWLM designed by Ken Adams as no-one knew how to light it properly.
    Never understood the Kubrick worship. My favorite of his is SPARTACUS but it’s more due to my love of epics than anything Kubrick contributed. Plus look at that cast. Douglas, Olivier, Laughton, Ustinov, Curtis, Simmons. They would have performed just as well under Anthony Mann (whom Kubrick replaced). I mean just a year later Mann gave us the excellent EL CID! As for DR. STRANGELOVE I enjoy some of the Cold War humor (though a lot of it drags and isn’t particularly funny) and performances in that one (Sellers, Scott, Pickens) though I wouldn’t call it a masterpiece.

    Otherwise as a filmmaker I prefer John Glen, any day and twice on Sunday. :)

  • edited November 2018 Posts: 17,785
    boldfinger wrote: »
    Univex wrote: »
    Believe the hype, he already is The Great Fukunaga. Don’t believe me? we’ll talk in a few years from now.
    He made me lose interest in Maniac after two-and-a-half episodes, I wouldn't call that great.
    Beasts of no Nation is great though.
    TD is too long but has greatness.

    Reviews of Maniac seems very divided – either praising the show, or completely slamming it. One newspaper review here in Norway, summed up Maniac like this:
    «Damn, how fun it would be if Maniac was any good.

    And damn, how unfunny and bad it is.»


    I really love the work Fukunaga did on True Detective, but to call him The Great Fukunaga long before Bond 25 hits the cinemas is a bit early. I remember being very excited about Mendes directing Bond, but his two films are at the very bottom of my list.
  • Posts: 6,709
    I really love the work Fukunaga did on True Detective, but to call him The Great Fukunaga long before Bond 25 hits the cinemas is a bit early. I remember being very excited about Mendes directing Bond, but his two films are at the very bottom of my list.

    I will never badmouth Mendes on account of Road to Perdition. IMO, it's still a masterpiece. Not gonna talk about his Bond flicks, but they were fun times to be a Bond fan, no doubt about that. I respect the man as a filmmaker. Always will.

    I've seen all of Fukunaga's films and shows and I have lots of respect for the man as a filmmaker as well. He is a true artist with an undeniable vision. Maniac was very good, IMO. But its his Jane Eyre that impressed me. He was very young when he directed it and it was flawless. Besides, I love hearing both of these directors talk about their art. Mendes and Fukunaga will carve their place in history. Mendes already has.
  • edited November 2018 Posts: 84
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    I rarely comment here but this comment really has been click bait for me.

    He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
    And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.

    Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.

    I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.

    David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.

    The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.
  • Posts: 6,709
    I love his Stargate theme :)

    Just wanted to ad that.
  • David Arnold certainly should come back. Just listen to the scores of the last four films and you'll notice the major difference of how effective his work is towards bringing out the mood of their associated scenes.

    The score for QOS is definitely no reason why Arnold shouldn't have come back for SF, but Sam Mendes insisted on someone else who used a minimalist approach.

    Arnold usually worked meticulously to observe the scenes and use his scores as part of the story-telling experience.
  • peterpeter Toronto
    Posts: 9,509
    darrenr wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    I rarely comment here but this comment really has been click bait for me.

    He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
    And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.

    Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.

    I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.

    David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.

    The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.

    Well said. Arnold was excellent and I think he'd still bring the goods.

    However, I think EoN will at least give Fukunaga the freedom to suggest other options. And I think he will make persuasive arguments for his choices.

    I expect another composer for B25, but would be very happy to have Arnold back.
  • MaxCasinoMaxCasino United States
    edited November 2018 Posts: 4,660
    I find it kind of sad that EON will let directors choose their own people (will their blessing) but can't trust many writers outside of Purvis and Wade having some form of writing on it.
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    darrenr wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    I rarely comment here but this comment really has been click bait for me.

    He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
    And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.

    Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.

    I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.

    David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.

    The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.

    Comment of the month.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited November 2018 Posts: 8,223
    darrenr wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    I rarely comment here but this comment really has been click bait for me.

    He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
    And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.

    Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.

    I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.

    David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.

    The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.

    Comment of the month.

    Bravo indeed!
  • TripAcesTripAces Universal Exports
    Posts: 4,586
    Walecs wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    A complete list of theatrical feature films Daniel Craig has starred in since his last Bond movie:

    Logan Lucky
    Kings

    Why would the great Fukunaga want to work with someone as second rate as Craig?

    Apples to oranges.

    It has been ten years since Arnold's last Bond film. It's been three for Craig. So...no, doesn't work. I'm surprised those applauding this post didn't realize that glaring difference.

    In any case, every few weeks this thread turns into a romance over Arnold or Campbell or both. It's as if some fans are saying, "Gee, if we could just return to the good ol' days of Campbell and Arnold." Ahhhh. How swell.

    But no. And thankfully no.

    I am not a big fan of Campbell. I am OK with Arnold, but as @PanchitoPistoles pointed out: he's pretty much second rate. He doesn't register anymore. That doesn't mean he can't or won't do a score for Bond 25, but I just don't see it. And the fact that he keeps lobbying for it, in the most passive-aggressive ways, just reeks of total desperation...and also demonstrates that the man has nothing else...

    giphy.gif

    Not sure why CJF would want him.

    Musical tastes are purely subjective. But in the most objective terms there are, Newman's SF score exceeded everything Arnold had done in the previous five films. Newman was nominated for an Oscar and won a Grammy (those are his peers speaking). And his soundtrack for SF was the highest selling in 27 years and made it on the album chart (that's the public speaking).

    This doesn't mean that fans of Arnold's can't prefer his music. But it does mean they're in no place to look down their noses at Newman or those who prefer his work. Call it minimal. Call it boring. Call it whatever. But you can't call it unaccomplished. Regardless, as much as I like Thomas Newman, he's not my favorite Newman...

    giphy.gif

  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    darrenr wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    I rarely comment here but this comment really has been click bait for me.

    He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
    And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.

    Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.

    I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.

    David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.

    The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.

    Comment of the month.
    Bravo indeed!
    Applause very much warranted alright!
  • ResurrectionResurrection Kolkata, India
    edited November 2018 Posts: 2,541
    MaxCasino wrote: »
    I find it kind of sad that EON will let directors choose their own people (will their blessing) but can't trust many writers outside of Purvis and Wade having some form of writing on it.

    I suppose Cary will bring another writer to work alongside purvis and wade. Another interesting thing is will they use some part of Danny Boyle and john hodge script then titles will be like

    Screenplay by-

    Purvis & wade
    Boyle & Hodge
    Fukunaga & some other writer

    If fukunaga bring another writer into the fold that would be a great way to introduce a new writer for future bond films.
  • ResurrectionResurrection Kolkata, India
    edited November 2018 Posts: 2,541
    I want David Arnold and the new composer to work together for bond 25. One eye in the past and another one in the future.
  • MajorDSmytheMajorDSmythe "I tolerate this century, but I don't enjoy it."Moderator
    Posts: 13,978
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    Were Young, Hunt & Glen given that much control? If not, they are looking at the wrong sort of directors. Some fans are acting like we dodged a bullet with Boyle. To me, it feels like we have dodged one bullet, and stepped in to the path of another.
  • Posts: 3,333
    Never understood the Kubrick worship.
    It's not worship, it's appreciation. Different thing entirely. Without turning this into a Kubrick off-topic conversation, I'll leave your first remark hi-lighted to close the matter.
    TripAces wrote: »
    Musical tastes are purely subjective. But in the most objective terms there are, Newman's SF score exceeded everything Arnold had done in the previous five films. Newman was nominated for an Oscar and won a Grammy (those are his peers speaking). And his soundtrack for SF was the highest selling in 27 years and made it on the album chart (that's the public speaking).
    Seriously? That's your take on it—Oscars and awards as your yardstick? By your own lofty standards that means none of John Barry's Bond scores were good enough because they weren't nominated for an Oscar or a Grammy. Next you'll be telling us that only critically lauded movies have any merit.

    As for using The US Billboard chart success of the SF album as the most successful Bond score in 27 years, that's really reaching. The fanfare that was trumpeted for its digital sales were a miserly 5,000. The article that you drew your information was inadequate because it failed to compare the actual sales, only chart positions. Let me give you a comparison of today's sales by yesteryear's—Queen sold 60,000 records for Bohemian Rhapsody in one single day back in 1975. That sale for one day alone would've kept a current song at the number one position for 12 weeks! In other words, using an older record's chart position and trying to compare it today's market is just smoke and mirrors. It's something a record executive dreams up to hoodwink the ill-informed.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited November 2018 Posts: 4,528


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    Happy Sintmaarten ? Everyone this Sunday..!

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    https://en.wikipedia.org/wiki/St._Martin's_Day

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    14 February 2020

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    Almoost 3 months later..

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    What happend..



  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    TripAces wrote: »
    Walecs wrote: »
    A complete list of theatrical feature films David Arnold composed scores for since his last Bond movie:

    Agent Crush
    Made in Dagenham
    Morning Glory
    The Chronicles of Narnia: The Voyage of the Dawn Treader
    Paul
    The Inbetweeners 2

    Why would the great Fukunaga want to work with someone as second rate as Arnold?

    A complete list of theatrical feature films Daniel Craig has starred in since his last Bond movie:

    Logan Lucky
    Kings

    Why would the great Fukunaga want to work with someone as second rate as Craig?

    Apples to oranges.

    It has been ten years since Arnold's last Bond film. It's been three for Craig. So...no, doesn't work. I'm surprised those applauding this post didn't realize that glaring difference.

    That's because you completely missed the point of my post. What I meant is that Arnold is the right man for a Bond score because he already proved he's capable of great things with the CR and QoS score. You should judge him upon that, not upon the extra-Bond stuff he did.

    But then again I'm arguing with someone who thinks a work's quality should be judged upon the oscars it received.
  • echoecho 007 in New York
    Posts: 6,335
    I think we need an "Agree to Disagree" thread, which would include well-trod topics as "Should Arnold return?" and "Is Bond a code name?" that clutter other threads.
  • Posts: 1,548
    My thoughts exactly. Both Lord and Wright are my favorite Felix Leiters.

    The problem with Lord was that he always wanted the spotlight in everything he starred in. He wanted a co-star billing with Connery in Goldfinger and equal screentime, which was a big reason enough to look the other way and get Cec Linder.

    When Lord was offered the role of Captain Kirk, he wanted a large portion of the rights to the show bought to his account so he'd have creative control, hence they again looked the other way.

    Finally, with Hawaii Five-O, he got his wish. The rights to the show was divided between Leonard Freeman, CBS and himself. Lord, as much as I like him, was quite the control freak.

    Thanks ClarkDevlin. I never knew any of that about Mr Lord. Sounds like EON had no choice but to recast. No actor is bigger than the franchise. As much as I like the MI films, without Cruise they wouldn't exist. Maybe too much star power? With Bond the franchise will continue whoever the actor is.
  • MaxCasino wrote: »
    I find it kind of sad that EON will let directors choose their own people (will their blessing) but can't trust many writers outside of Purvis and Wade having some form of writing on it.

    It's an interesting point that I hadn't thought of before. On the one hand, you could argue that the script is where everything begins, and it gives EON the most control over what follows.

    On the other hand, surely jobs like cinematographer or composer (etc) are also terribly important, but they're open.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    echo wrote: »
    I think we need an "Agree to Disagree" thread, which would include well-trod topics as "Should Arnold return?" and "Is Bond a code name?" that clutter other threads.

    1. I think we already have plenty of David Arnold appreciation or DA vs. Thomas Newman threads.

    2. It's not, period. We had threads about that and they're pointless.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    edited November 2018 Posts: 15,423
    LeChiffre wrote: »
    My thoughts exactly. Both Lord and Wright are my favorite Felix Leiters.

    The problem with Lord was that he always wanted the spotlight in everything he starred in. He wanted a co-star billing with Connery in Goldfinger and equal screentime, which was a big reason enough to look the other way and get Cec Linder.

    When Lord was offered the role of Captain Kirk, he wanted a large portion of the rights to the show bought to his account so he'd have creative control, hence they again looked the other way.

    Finally, with Hawaii Five-O, he got his wish. The rights to the show was divided between Leonard Freeman, CBS and himself. Lord, as much as I like him, was quite the control freak.

    Thanks ClarkDevlin. I never knew any of that about Mr Lord. Sounds like EON had no choice but to recast. No actor is bigger than the franchise. As much as I like the MI films, without Cruise they wouldn't exist. Maybe too much star power? With Bond the franchise will continue whoever the actor is.
    No problem. And I agree. No actor is bigger than the franchise and spot on with the M:I claim. So far, the film franchise hasn't done anything outside the importance of Cruise to the gig. I love the film series myself, but the recent installments were more about the stunts Cruise would perform rather than the stories themselves. Not that I dislike it, I don't by any means, but like you said, without Cruise, the M:I films wouldn't be a thing unless they rejuvenate it the way the television series has always been.

    Bond, on the other hand, is established as a man who would take care of problems - or eliminate them. The franchise has an identity to go with, whereas the M:I films are about Cruise performing stunts himself while portraying a fictional spy. His spy character hasn't gained ground as a cultural icon and a man who does specific things, whereas Bond has them all. There are no specifics to identify Hunt by. But, when you see a tuxedo, a dry martini, a Walther PPK sidearm, combat skills and suave womanizing habits, you'd instantly know that's Bond. Hunt doesn't have those. He just has Tom Cruise doing stunts by himself. That's the difference between Ethan Hunt and James Bond.

    The only way Mission: Impossible could exist without Cruise is by getting out of his shadow and bringing in a set of team players, like the original television series, of significant traits, playing mind games with the enemy and beating them. That was the specialty of M:I before Cruise, as much as I love him as a filmmaker, turned it into "The Ethan Hunt Show", and now Lalo Schifrin's theme for the franchise is Ethan Hunt's theme. It shouldn't be like that.
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