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I don't understand either, but this is exactly what EON and other production companies of big budget movies have been doing for many many years.
I dislike the screenplay of SP and dislike P&W even more, but you can't lay Spectre's script problems at their feet. They were hired it the last minute and had to polish a turd.
Because regardless of what we discuss eon will hire p&w basically guaranteeing that the script will suck.
There’s more to writing a script than ‘writing a script’. I tried to politely outline further up the thread why you can’t view the writing as a singular, sheltered process that defines the finished product.
I just don’t think people bother to read, which is why a valued and experienced (now ex) member left the boards because he was constantly challenged by those who haven’t the slightest idea of the ‘process’.
It’s easy to make bold assertions, I get that, but, particularly when it comes to writing, these projects can become clusterfucks and that’s not the choice of the writer.
Answers on a postcard to B. Brocolli. The winner gets a vintage signed copies of P&W’s TWINE script.
A beautifully nostalgic sentiment. Just telling it how it is in 2018. Not 1960. Don’t shoot the messenger.
It’s inevitable.
I don’t doubt that you are correct, I just wonder whether this is actually necessary of just a symptom of how the industry has grown and developed?
Is it not possible to still build a film around an excellent script that remains essentially unchanged (obviously there will always be some changes) during development and shooting, or does the script always have to be a mash up of different writers and producers and whoever having their contribution?
Why technically can’t you have a great script that remains the core of the film throughout? Are writers incompetent?
It also feels like this problem afflicts EON in particular. When was the last time they had a decent script ready as they started shooting?
It’s completely possible, but when your budget starts pushing $200m you need guarantees. You either trust the talent, or you meddle. The latter is usually the default. I hate it, obviously, but I’m just trying to give some context to why certain things happen.
As producers they have to ask themselves, ‘as much as you may love the script the new hot-shot writer has delivered, have you got the balls to follow through, or do you go for the stalwart, gauranteeing that when it goes tits up, and your superiors are looking for answers you can say, ‘well, it worked last time’.
Just to confirm, I despise this approach I’m on the negative receiving end in my job, but I know it happens.
In my humble view there is need for someone with a bit more operational control and oversight over there.
I also believe they need a more streamlined organizational structure (there seems to be far too many fingers in the pie these days, with MGM, EON, Studio, Director and now even Craig chirping in). That is why I'm open to whatever happens behind the scenes after B25 is eventually released.
I can appreciate that scripts aren't written in a vacuum, but that is something which affects all films and not just Bond output.
I know you’re being somewhat facetious, but isn’t that the impossibility we face? How do you write something ‘amazing’ when so many people have polarising opinions of what Bond should be? Putting aside the obvious retort of ‘a passable script would be a start’, what’s the answer? I think you just have to go on instinct don’t you and see where it takes you? SW fans are starting to realise the issues Bond fans have grappled with for years.
Or being made fun of at a Las Vegas casino.
Are DAF, TMWTGG, and CR the only three films that feature kids at all?
Good heavens no! Bond is supposed to be escapism. A dream that you enter into for a couple of hours to forget about your day to day maladies.
Bringing a kid into the venture zaps you right back to the real world. Forces you to relive the thought of your own brat, your divorce and copious amount of child support.
Late? While making Spectre, they basically had nothing at this point.
same here
If this doesn't happen I will likely lose any interest in new installments to the franchise.
You mean the script was even closer to Bourne Supremacy before the strike???
Wow.
Anyway, in regards to this apparent conundrum of too many cooks spoiling the broth, the obvious solution would be to take things back to "when we'll have the advantage" to quote Skyfall. Bond is probably the only major franchise that has any kind of freedom creatively. EON still control the production of the films, no? So, instead of inviting more cooks to have a taste of the broth and giving their input (giving Craig a co-producer credit has to be one of the biggest face palms in recent memory), the better move would have been to take back control of their property. Push people out of the conversation, not invite more in. Their are distributors out their that would kill be have a property like Bond. Choose one of the little guys that are happy to butt out and let EON get on with it. Hire workmanlike directors and lesser known actors, and put more effort into the script instead, where it's needed. There are solutions to the problem, that don't involve throwing ones arms up in the air and saying "wadaya gonna do?" Not to mention doing this would actually save money, millions. Bond is probably the only franchise that can get away with this because it is still relatively independent compared to the likes of Star Wars and others. EON should use their advantages and what makes them unique instead of trying to be like the other guys all the time. Just sayin.
Then you should be a happy camper for sure.
The odds are certainly in his favor
Some of us want a decent movie, mate. Bond pictures don't come about too often.