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I think her biggest weakness is her inability to deliver on the writing front. This has been consistently poor pretty much since Cubby’s passing IMO and has hit all time lows at points that are unforgivable. She just doesn’t seem to have that knack to pick the right people or call out some of the shockers on the writing front.
The underlying plots tend to be weak and the dialogue way too sketchy. It gives the majority of her films a flaccid vibe. They lack real tension or danger.
Dialogue has improved in the Craig era (as well as delivery) but I still don’t think any of his films hits it out of the park on the writing front.
'Live with Kelly and Ryan' and 'The Tonight Show starring Jimmy Fallon' on Wednesday, 20 December.
I wouldn´t put it all down to "her", because MGW was heavily involved with some of the most interesting stories of the Moore and Dalton eras, but I did get a wtf moment when she describes in that interview how fantastic the scribes are. I´m way more lenient with P & W than most people around here, I think they are the least problem, but I find Barbara´s praise for them incredible.
I disagree on your last point @Getafix, I quite liked writing and delivery in CR and QoS. SF already had some major flaws, and in SP also the delivery is many times questionable.
I could imagine a number of scenes with Bond and his car, the problem I have is when it´s forced down my throat.
I really get angry at the perversion and lack of intelligence of people thinking a Bond film needs a Bond car, when I think of the many times Bond didn´t have a special car, in other words in most of the films.
This is very true. Ideas go back and forth.
It's not totally contractual. It's also subject to the Writer's Guild guidelines. For example, Bruce Feirstein was added to The World Is Not Enough's writing credit (so late that the novelization said only, "Based on the screenplay by Neal Purvis & Robert Wade.")
In a Writer's Guild arbitration, the parties involve submit drafts. In this case, Feirstein was judged to have contributed enough material to merit a screenplay credit.
Yeah, having a new Beemer or Aston every film since 95 has gotten a bit played out to be honest. I'm glad they've made the car having gadgets an occasional event again but even without gadgets, he still doesn't need a new car every film.
I think give him a personal car that can be used when the script calls for it (a Bentley would be a nice touch but we'd probably have settle for the DB5 as depressing as it is) and give him an MI6 car with gadgets every few years if they have a really cool holy shit sort of idea in the same vein as the underwater Lotus.
He didn't have a new car in Skyfall, and you could argue he didn't in Quantum either (but somehow managed to repaint the Aston when shoving White in the trunk... I personally like it when Bond gets a new car, but I don't like the prototype thing from SP. The new Vantage would do.
The fact that Q does not equip Bond with a new gadget laden automobile in FRWL, TB, OHMSS, DAF, LALD, TMWTGG, MR, FYEO, OP, AVTAK or LTK in no way impedes my enjoyment of those films.
Bond did get a car for FYEO, but Bob Simmons blew it.
I figured the white Lotus was one he already had and was driving around.
It was red in FYEO. Could be a paintjob, of course.
We haven't had a well-conceived script since CR.
Hopefully that's where the money's going this time round.
Remarkable that anyone would fight to have their name associated with TWINE
At least much more understandable than claiming the responsibility for Skyfall or Spectre. TWINE it's one of the very very few not Fleming based scripts without anything like a plot hole AND with 007 resembling the Bond of the novels as well. That alone should make it much more appreciated around here.
A shame about the quality (or lack of) of acting in TWINE. PB at his worst in this one for me.
The dialogue in particular is cringeworthy in some places and terribly pedestrian elsewhere.
As I said in a mini review on another thread, they tried to have it both ways by peeling back a bit of Bond's psyche while also attempting to deliver the (at the time) expected campish humour. The two elements clash and the actors can't pull it off (I don't blame them, because it's quite difficult to be credible in both realms concurrently).