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Working in and with filmmakers as I have over the years the buck stops ALWAYS with the Director - its their film.. The job of every department is to fulfill the director's vision.. So while Newman is partially to blame for the recycled score, nothing made it into that movie without Mendes' approval either... That's the way it works.
Memorably bad can be worse actually. At least Newman didn't play "Ladies First" on loop.
After SF and SP and the endless use of the name is Bond... James Bond at the end of each film, I'm happy for memorably bad.
I happen to like the FYEO and LTK and GE scores because they feel very expressive of their period.
Good examples with TSWLM and GE, noting all those drafts and such were cumulative. I was thinking that the original third Dalton film script would have come closest (if it even moved beyond the treatment stage) but I think even part of that carried all the way to the finalized GE (the former friend betraying Bond).
So sorry to hear that. RIP.
I guess we'll need to be patient 'til August-ish until we find out who's actually directing.
I like those as well. 'Drive in the Country", "Licence Revoked", "GoldenEye Overture", all great tracks, IMO.
I do hope in B25 there is a departure from using that tired version of the Bond Theme for the end credits. That has long gotten old, and it's been going on for years now. Perhaps a return to the main title track to kick off the end credits?
I'm wondering how much control Boyle will get from Eon.
For instance, will he hire his own production designer? Someone new to create the title sequence? New stunt coordinators?
Mendes was fairly traditional in this respect. He stuck with the Eon house staff. In fact, Marc Forster was the more who cleared deck. Sam actually went back and pretty much bought back the entire crew from CR (aside from bringing his own cinematographer and composer - which is expected of any director).
The only concern I have with Boyle is that we may now not be getting a true adaption of YOLT that SP seemed to be indicating. I think Boyle's idea is probably something completely unique.
when will Eon make Boyle official? We're just a press release away now from this being rubber-stamped.
Well, one thing we know for sure is that Gary Powell won't be doing B25.
@Pierce2Daniel I've given up hope on an adaptation of YOLT no matter who's directing. I think SP's reception will have put them off the idea and the long gap is the final nail in the coffin, I'm fully expecting a stand alone film now. Although to be fair I also never expected Mr White/Quantum to be bought up again for the same reason, so I guess anything is possible.
Why are EON having to fight with a hired hand? We're the client just deliver what we want whether you disagree with it or not you prick.
It's telling that the Adele track as Bond approaches the casino is the best track on the soundtrack.
The fact that after that Newman came back just goes to show how out of control the production was with EON letting Mendes do whatever he wanted unchallenged.
Don't forget Dennis Gassner, the production designer, he was a hold over from QOS as well.. Mendes brought him back for SF and SP..
I think EON will give him as much control as they have the previous Directors.. They'll offer the services of those already in house, but if he wants to bring in people he's more comfortable with, then he will (just like Mendes bringing in Newman for the score).. You don't bring on a Director like Boyle and throw handcuffs on him.
Not really. He didn't collaborate on AWTD yet that was woven into 5 or 6 tracks. He didn't weave TND and DAD only because the former was added when all the score had been done and the latter's "melody" did not fit any scene.
It was Mendes' indeed.
I doubt we're getting YOLT with Craig, which is a shame.
Maybe the next actor will get a reimagined OHMSS/YOLT/TMWTGG arc. It has to happen eventually, right? And in a way, that might be better. Only one major love per Bond.
That can be accomplished with what's there already.. LALD still used Binder for the titles and Guy Hamilton as director.. Look how different CR felt to any of the previous Broz films, and they had Campbell directing, Kleinman on titles and Arnold composing.. A big part of that perception comes from tone established by the film itself and by whoever is Bond - more so than swapping the parts around those two things.
To be clear, he is suing the actual Insurance company that EON used while in production of SP, not EON themselves.
In the case of “Spectre” I got a music editor on very early on and we took apart the existing score from “Skyfall” and strung that out and rebuilt cues to suit the new film, just to give us the temp score. We needed it to be in Bond’s world. I saw no reason to pull temp score from other films. We did use other existing score in moments where we clearly couldn’t build it from Skyfall, but it was great because we were doing a really polished version of a score underneath the editor’s cut and it worked and whenever we played it for producers or Sam I think there was only once or twice where he said we missed the point with the music, but for 90% of the time we were on the money and I think when we started working with Thomas Newman and he was re-writing it, he knew mode and placement or the temp score was pushing all the right emotional buttons.
Source
Some thoughts and perspective as to why Danny Boyle would be perfect for Bond...
http://markoconnell.co.uk/directed-by-danny-boyle-24-films-later-the-brit-director-hopes-to-make-a-bond-life-less-ordinary/
Fully agree on that. Like the SF score, but SP was really just lazy and uninspired copcating of his own material. If he did not want to do a Bond score, he could have said so. But then Mendes surely insisted in bringing him back. I'd rather would have liked to have Deakins back, although I don't have any issues with Hoytema's work as DoP. The faults of SP are to be found somewehre else (script, director...).
Am sure I have seen this done elsewhere? (!)