No Time To Die: Production Diary

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  • Posts: 9,843
    Edgar Wright can do Bond 26 and write the script from scratch with a new actor.

    Why give Bond 26 to Wright when the far more suitable Christopher Nolan is already waiting in the wings? Seriously, people here should STOP suggesting directors for Bond 26 other than Chris Nolan.

    So you’re saying you want Pierre Morrel to direct bond 26 fantastic

  • M_BaljeM_Balje Amsterdam, Netherlands
    edited August 2018 Posts: 4,512
    If there whant bring back Vesper (Spectre video) and Boyle whant Ewan McGregor (if this is not the reasen he walked if Eon disagree.) take David Mackenzie. Bonus: Connie Nielsen can been cast. She is on my wishlist as Bondgirl (After very succesfull Danish actors, now time for Danish actres). Perfect Sense isn't it ? https://m.imdb.com/title/tt1439572/
  • QQ7QQ7 Croatia
    Posts: 371
    "Paolo Sorrentino"

    I just can't see director of "La grande belleza", "Le conseguenze dell'amore" and "Youth" making a Bond movie, sorry.
  • Fire_and_Ice_ReturnsFire_and_Ice_Returns I am trying to get away from this mountan!
    Posts: 25,047
    M_Balje wrote: »
    If there whant bring back Vesper (Spectre video) and Boyle whant Ewan McGregor (if this is not the reasen he walked if Eon disagree.) take David Mackenzie. Bonus: Connie Nielsen can been cast. She is on my wish as Bondgirl. Perfect Sense isn't it ?

    Totally agree
  • QQ7QQ7 Croatia
    Posts: 371
    "people here should STOP suggesting directors for Bond 26 other than Chris Nolan."

    Umm, free world?
    Nolan is fine, but Wright might do a better Bond film, you never know.
  • Posts: 1,548
    vzok wrote: »
    fanbond123 wrote: »

    Another idea could be Bond as the villain. Bond is brainwashed and works for the enemy. In the final act of the storyline Bond recovers, helps MI6, saves the day! That would be a radical departure from the previous films, but a creative risk.


    That would be interesting. Bond could be working for Spectre initially.
    vzok wrote: »
    fanbond123 wrote: »

    Yes! I’ve been thinking along those lines for a while. Plus maybe Bond develops a drug habit etc. OR Bond gets imprisoned by an enemy state for a long period time but in a realistic way. Not the
    half arsed version in DAD. I just want something different. But above all I want some top notch action sequences that Bond movies used to lead the way with. Mission Impossible leads the way these days. Chris Macquarrie could handle Bond but I feel he may be feeling a bit action fatigued by now.
  • Posts: 1,548
    And I want Felix back!
  • Posts: 787
    peter wrote: »

    It seems Marvel/Disney has had serious issues starting with Wright's dismissal on ANT MAN, ROGUE ONE, SOLO, GOTG... that's a lot of years showing a growing dysfunction...

    But, you know Babs and EoN are amateur-hour producers and Cubby's rolling in his grave....

    Yah... right.

    False dichotomy, Peter. I agree that some posters here have gone overboard, but just because GOTG3 is a shambles doesn't mean that B25 can't also be a shambles.

    Anyway, from my side I'm a bit less worried about the script than the director. Of course, I think many of us have been saying for years that the scripts have been lacking, but in this case I take for granted that whoever comes on board will do some polishing/doctoring/rewrites.

    My bigger concern is that it'll be hard to find a quality director with an open schedule at short notice. I fear that as we start flirting with billion-dollar box office takes, the 'journeyman' types (who admittedly made many of the greats of the past) might not cut it any more.
  • Posts: 12,462
    If that Daily Mail story is to be believed, the Boyle/Hodge story sounds like it was possibly too radical, and the Shatterhand script was maybe too safe (an OHMSS remake). It’d be nice if we could get some kind of good in-between to where the film feels fresh, but it’s unmistakably Bond at the same time. I like to think with Boyle and Hodge leaving, perhaps we dodged a bullet and missed something that could have seriously hurt the Bond legacy. I’d love to see that script to satisfy curiosity someday. Perhaps they will still use ideas from it though for the actual film?
  • peterpeter Toronto
    Posts: 9,509
    boldfinger wrote: »
    John hodge is officially off
    Is he? Where is the official confirmation?

    Look at the article on the mi6 website
    His agent confirmed it

    What you have to understand is that the writer is gone, but his script remains the property of EoN. This is not unusual for any film development as it is so very rare, on franchise/tent-pole films, that the original writer is still standing at the end.

    The Hodge script belongs to Eon and they can do with it whatever they want.

    I would guess this is the script they're going out with to directors. And the writers they're looking for will be script-doctors/polishers.

    Here's some speculation from me again: I would put money down that this is what EoN would want anyways, someone to come on board to polish Hodge's work. And I bet Boyle recoiled at the idea-- this being one of the "creative differences".
  • peterpeter Toronto
    edited August 2018 Posts: 9,509
    DonnyDB5 wrote: »
    Regardless if Hodge is on or off, didn’t we establish that EON most likely owns the script either way?

    they don't most likely own the script-- they paid for it, it's theres. And it's the one I assume they're going out with.
  • DonnyDB5DonnyDB5 Buffalo, New York
    Posts: 1,755
    peter wrote: »
    DonnyDB5 wrote: »
    Regardless if Hodge is on or off, didn’t we establish that EON most likely owns the script either way?

    they don't most likely own the script-- they paid for it, it's theres. And it's the one I assume they're going out with.

    At least this is reassuring. I’d imagine it must be difficult trying to find a director, though, with only 3-4 months left before production is supposed to commence.
  • Posts: 9,843
    If this is to be believed do we really want a third S title in a row....

    Let’s assume for a split second they get a director the film is a mix of the two ideas and it’s goes well am I the only one come next November who will be annoyed that Bond 25 is Shatterhand?

    I do like the title and feel it could be good for a bond film but if your going to do Ohmss over why not just use the more obvious title All The Time in The World G̲e̲t̲ some new pop singer to cover the original song and there you go...

    I know I am complaining about a button on a shirt while the rest of the shirt is in flames but it does bother me...

    I mean it’s weird but many were complaining in 2008 about going through the remaining short story titles too quick but do we have to go through the one word S titles so quick as well?

    I just (my opinion only) don’t really want to deal with

    Shatterhand 2019
    Smersh 2022 (Tom hardy as 007 and far panchito’s sake Nolan directing and co producing with Babs and Michael)
    Shamelady 2024

    Etc

    It’s really telling I would prefer 007 in New York as the title over Shatterhand right now
  • peterpeter Toronto
    Posts: 9,509
    Well, @RC7 has mentioned, Boyle was over-seeing the construction of sets, so some of the big pre-production work is in the midst of taking place-- decisions have already been made.

    The new director can come aboard, lean on his assistants, and focus solely on the polish of the script (which is exactly what would be happening right now if Boyle was still on board-- the polish of the script into the what would be the "shooting draft").

    Theoretically, they haven't lost a step as it stands today.

    It's now up to the director, and his comfort level, to step in and continue moving forward from where the production is right now. I gather this is what the producers are asking from their candidates: we are at a certain spot in production; we don't want to move backwards on this; we need you to keep moving forward...

    If a director isn't comfortable with this concept, he won't say yes to the gig. If a young and energetic director like Demange sees this as a challenge, and an exciting one at that, I can see him jumping in with both feet.

    I wonder about MacKenzie, a filmmaker I like; is stepping into pre-production and moving forward in his wheelhouse? He's about a decade older than Demange, more established. With his own way of shooting a film.

    Demange is 41, still exploring his creative styles-- when you watch '71 and then see the trailer for White Boy Rick, I wouldn't recognize these two films being from the same director (although granted, a trailer is a trailer, and I should wait to watch the entire film)... Saying that, there's a certain grittiness and energy that looks to be an early Demange trademark...
  • bondjamesbondjames You were expecting someone else?
    edited August 2018 Posts: 23,883
    So no news yet? I thought we'd hear something after the reported meeting. Oh well.

    I'd imagine at this stage they are trying to salvage something out of those two scripts they have. Given we get a new director either way, there will no doubt be tinkering. The question is how much tinkering and at what consequence? Will we be left with the much ballyhooed hook only, or will other elements and ideas be retained along with the action sequences? As long as we don't ultimately end up with an evident 'hodge'podge (forgive me...) of P&W (or other script doctor) + original writer like we did with SP, it should be all good.

    Still hoping they get this damn thing out for October/November 2019 as previously promised.
  • edited August 2018 Posts: 4,408
    Here's some interesting context...

    While Sam Mendes was engaged with 18 months to develop his two respective Bond films, most directors in Bond (especially the Brosnan era) often got hired in mid-late summer the year before production.

    Michael Apted:
    His appointment was announced on August 9th 1998
    http://news.bbc.co.uk/1/hi/entertainment/146444.stm

    Lee Tamahori:
    His appointment was announced on July 30th 2001
    http://www.aintitcool.com/node/9720

    Marc Forster:
    His appoint was announced on June 22nd 2007
    http://news.bbc.co.uk/1/hi/entertainment/6220890.stm

    peter wrote: »
    If a young and energetic director like Demange sees this as a challenge, and an exciting one at that, I can see him jumping in with both feet.

    I wonder about MacKenzie, a filmmaker I like; is stepping into pre-production and moving forward in his wheelhouse? He's about a decade older than Demange, more established. With his own way of shooting a film.

    Demange is 41, still exploring his creative styles-- when you watch '71 and then see the trailer for White Boy Rick, I wouldn't recognize these two films being from the same director (although granted, a trailer is a trailer, and I should wait to watch the entire film)... Saying that, there's a certain grittiness and energy that looks to be an early Demange trademark...

    Very good assessment.

    Mackenzie would be competent and Demange would be enthusiastic and eager to please. I actually think Demange is an eager and intelligent filmmaker. His analysis of this scene from '71 is really interesting.


  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    peter wrote: »
    DonnyDB5 wrote: »
    Regardless if Hodge is on or off, didn’t we establish that EON most likely owns the script either way?

    they don't most likely own the script-- they paid for it, it's theres. And it's the one I assume they're going out with.

    Hence why Logan has a writing credit on SPECTRE, who know of what exists of his treatment in that finished script and what is P&W or Butterworth.

    I guess if Hodge ends up in the credits when Bond 25 hopefully opens next October (Uk) and November (U.S) we'll know that some of his work still exists in the finished product.

    If they junk his whole script and go with P&W with someone else polishing then we'll see it in the credits and Hodge won't be credited I guess @peter?

    Although I'm unsure if they don't use his work at all do they still need to credit him and is it only when it's a Frankenstein like scenario when many writers contribute regardless of the finished product get a credit, could you enlighten me on this please?
  • peterpeter Toronto
    Posts: 9,509
    @Shardlake , if they use only one line of dialogue from Hodge, they will have to credit him in some capacity (there is a funny story from screenwriter Josh Friedman: his first credited film was in the Morgan Freeman film, Chain Reaction (with Keanu Reeves as well). He sold this film on spec. He was excited at the release (although, if memory serves, he didn't get an invite to the premiere?... Anyways, he watches the film upon release, and one line, one line of dialogue, remained from his original script. Everything else was binned! One line, and I think it was "We've got you Johnny", or some such generic line. Look this story up, it's quite funny and gives an insight into the writing process in Hollywood).

    So, yes, one line from Hodge will have to be recognized in credit-- whether it's Original Story By

    Danny Boyle and John Hodge

    Screenplay By

    Person X and Person Y
    and
    John Hodge

    But, if they go all in on P&W with polishers on this script, they will give credit to these writers (and nothing to Hodge since nothing from his script was being used).
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,159
    DarthDimi wrote: »
    @Tuck91 and @AlexanderWaverly
    Can you please avoid double posting? You can use the edit button (under options) --> see the little wheel that appears when you move your cursor around a bit.

    icon-ios7-gear-512.png

    Thank you. :)

    When did I double post?

    Right above my post. :)
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    peter wrote: »
    @Shardlake , if they use only one line of dialogue from Hodge, they will have to credit him in some capacity (there is a funny story from screenwriter Josh Friedman: his first credited film was in the Morgan Freeman film, Chain Reaction (with Keanu Reeves as well). He sold this film on spec. He was excited at the release (although, if memory serves, he didn't get an invite to the premiere?... Anyways, he watches the film upon release, and one line, one line of dialogue, remained from his original script. Everything else was binned! One line, and I think it was "We've got you Johnny", or some such generic line. Look this story up, it's quite funny and gives an insight into the writing process in Hollywood).

    So, yes, one line from Hodge will have to be recognized in credit-- whether it's Original Story By

    Danny Boyle and John Hodge

    Screenplay By

    Person X and Person Y
    and
    John Hodge



    But, if they go all in on P&W with polishers on this script, they will give credit to these writers (and nothing to Hodge since nothing from his script was being used).

    Kind of suggests we'll never know for sure unless Hodge or Boyle open up about what got used if they both or one gets a credit then?

    Interesting as Peter Morgan doesn't get a credit for Skyfall as I do believe and correct me if I'm wrong the whole idea of M dying was his although the rest is either P&W, Logan.

    Like you say funny old world, do you see any creedence to idea that Hodge polished P&W as someone on the net has claimed, despite the fact they announced B25 with an original idea from Hodge & Boyle if I remember rightly?

    Thanks again @peter

  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    Who gets credited and not for their script contributions is due to contractual obligations.
  • peterpeter Toronto
    Posts: 9,509
    @Shardlake , not sure whose idea was to kill M in SF.

    No, my gut would say that Hodge polishing a P&W draft is a ridiculous notion. The producers liked an original idea that Boyle pitched. Hodge was brought on to write that.

    I doubt Boyle had any idea what the P&W draft was about.

    Just another terrible internet rumour that’s mashed into other rumours.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    peter wrote: »
    @Shardlake , not sure whose idea was to kill M in SF.

    No, my gut would say that Hodge polishing a P&W draft is a ridiculous notion. The producers liked an original idea that Boyle pitched. Hodge was brought on to write that.

    I doubt Boyle had any idea what the P&W draft was about.

    Just another terrible internet rumour that’s mashed into other rumours.

    I thought as much as it would totally contradict the idea of their idea being original.

    Though one thing can be sure there is likely as was SF & SP a few writers involved with B25 if it goes to schedule credited or uncredited like Butterworth.
  • edited August 2018 Posts: 1,661
    An extra delay and a new screenplay might tempt Christoph Waltz back. Perhaps the obvious way to do Bond 25 is have Blofeld escape prison and exact revenge on Bond and MI6. SPECTRE part 2 might be the simplest way to conclude Craig's time as Bond. My guess is Boyle/Hodge's idea was more complex or too left field. SPECTRE part 2 shouldn't be a complex storyline to write.

    Bond 26 can be a soft reboot. No connection to previous continuity. New actor as 007, new M. Blofeld/SPECTRE not part of the reboot. New villains (perhaps something involving AI robots). Subject to budget, perhaps it's time for Bond to go a sci-fi AI route. Something a bit different to the Craig Bond era.

  • WalecsWalecs On Her Majesty's Secret Service
    edited August 2018 Posts: 3,157
    FoxRox wrote: »
    If that Daily Mail story is to be believed, the Boyle/Hodge story sounds like it was possibly too radical, and the Shatterhand script was maybe too safe (an OHMSS remake).

    Wasn't SPECTRE pretty much a spiritual remake of OHMSS? A snowy location, Bond falling in love with the bad guy's daughter, Blofeld. If anything I could see Bond 25 being an adaptation of the You Only Live Twice novel (hence the Shatterhand title).

    Shardlake wrote: »
    peter wrote: »
    @Shardlake , if they use only one line of dialogue from Hodge, they will have to credit him in some capacity (there is a funny story from screenwriter Josh Friedman: his first credited film was in the Morgan Freeman film, Chain Reaction (with Keanu Reeves as well). He sold this film on spec. He was excited at the release (although, if memory serves, he didn't get an invite to the premiere?... Anyways, he watches the film upon release, and one line, one line of dialogue, remained from his original script. Everything else was binned! One line, and I think it was "We've got you Johnny", or some such generic line. Look this story up, it's quite funny and gives an insight into the writing process in Hollywood).

    So, yes, one line from Hodge will have to be recognized in credit-- whether it's Original Story By

    Danny Boyle and John Hodge

    Screenplay By

    Person X and Person Y
    and
    John Hodge



    But, if they go all in on P&W with polishers on this script, they will give credit to these writers (and nothing to Hodge since nothing from his script was being used).
    Interesting as Peter Morgan doesn't get a credit for Skyfall as I do believe and correct me if I'm wrong the whole idea of M dying was his although the rest is either P&W, Logan.

    P&W wanted to kill M in QoS, but they decided that if M had to die at the end the movie had to revolve around her, so that ended up in Skyfall.
  • DCisaredDCisared Liverpool
    Posts: 1,329
    RC7 wrote: »
    Benny wrote: »
    I sometimes wish we could go back to the days before the Internet.
    Of course we'd have no Bond forum so that's a negative. But we also would have to wait patiently for actual news, instead of guessing or hoping all the time, speculating the outcome using a defunct crystal ball.

    Totally agree

    Ditto. Although I’d say ‘modern internet’. I’ve been discussing Bond online for just shy of 20 years and it wasn’t like this back at the turn of the millennium.

    Ha ha i imagined partridge saying this.
  • Posts: 17,744

    The Piss Filter was really annoying. I just can't understand why they would want that.

    What you derogatorily refer to as "piss filter" is just part of Hoyte van Hoytema's usual aesthetic. You can see it in his other films like INTERSTELLAR which came a year earlier. He always employed a more otherworldly look to his films. Admittedly it's unusual for Bond films, as they typically in the past went with real world colors, so it's no surprise the more conservative Bond fans don't like seeing that kind of experimentation done (like those who hate the "the dead are alive" title after the gun barrel, instead of the usual iris opening up).

    If I have one reservation, I do wish the gun barrel didn't use that color pallet. Otherwise, the film looks perfectly fine to me.

    Derogatory would be calling him a hack - it's some people's favourite word around here.

    It worked well at times (Rome, the London stuff) and took away from the visuals at other times (pretty much the entire Austria sequence).
    That entire Austria look is like something out of some bland TV show that sent some rookie out to shoot some scenes of the Alps and the hapless chap couldn’t even capture the natural beauty of his surroundings properly. That’s what that whole Alps scene looks like. Bland gray colors. What the heck???? The worst cheapest postcard of the Alps looks better than what we saw. I just came back from Hawaii and the colors in the pics that I took with my iPhone just pop! Vibrant greens, turquoises, and other colors. Now imagine if I went ahead and just ran all this natural beauty through some gray filter. You’d call me an idiot for destroying the natural beauty of my pics, wouldn’t you?

    Agree. Imagine how good that shot of Bond on the lake would have looked like if they just used natural colours!
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Walecs wrote: »
    Shardlake wrote: »
    peter wrote: »
    @Shardlake , if they use only one line of dialogue from Hodge, they will have to credit him in some capacity (there is a funny story from screenwriter Josh Friedman: his first credited film was in the Morgan Freeman film, Chain Reaction (with Keanu Reeves as well). He sold this film on spec. He was excited at the release (although, if memory serves, he didn't get an invite to the premiere?... Anyways, he watches the film upon release, and one line, one line of dialogue, remained from his original script. Everything else was binned! One line, and I think it was "We've got you Johnny", or some such generic line. Look this story up, it's quite funny and gives an insight into the writing process in Hollywood).

    So, yes, one line from Hodge will have to be recognized in credit-- whether it's Original Story By

    Danny Boyle and John Hodge

    Screenplay By

    Person X and Person Y
    and
    John Hodge



    But, if they go all in on P&W with polishers on this script, they will give credit to these writers (and nothing to Hodge since nothing from his script was being used).
    Interesting as Peter Morgan doesn't get a credit for Skyfall as I do believe and correct me if I'm wrong the whole idea of M dying was his although the rest is either P&W, Logan.

    P&W wanted to kill M in QoS, but they decided that if M had to die at the end the movie had to revolve around her, so that ended up in Skyfall.
    I was under the impression that this was a Mendes idea. I thought that was his whole big hook and would be a prerequisite for him taking the gig. Pretty sure I read that somewhere.
  • Mendes4LyfeMendes4Lyfe The long road ahead
    Posts: 8,392
    If they held that meeting we will hear about it soon enough. No way they can keep it under wraps for long.

    I don't see Edgar Wright getting involved in a project like this, especially one which is having development troubles as it is.

    So that leaves the other two. Demange might have the energy and determination to bring together a super Bond entry, but does he have the experience/ability? I only ever hear of '71 in relation to his previous work.

    The other option, can't even remember the guy's name, has worked with Barbara before, right? He may have the inside track, but I can't see either really ending the Craig era "on a high". Not within the constraints of a 2019 release date.

    It seems like the best option is to quit while we're ahead here. I agree with the articles and posters describing SP as a "worthy sendoff", as I think it was to be if Craig didn't come back. They can push back Bond 25 until November 2020, and recast the role in the next year or so. That way Craigs tally remains in the positive, he doesn't go out with a whimper like Brosnan, Moore and Connery (I like DAF, but still), and Bond move on full steam ahead. Everybody wins.
  • edited August 2018 Posts: 4,619
    peter wrote: »
    The new director can come aboard, lean on his assistants, and focus solely on the polish of the script (which is exactly what would be happening right now if Boyle was still on board-- the polish of the script into the what would be the "shooting draft").

    I have long believed that they shouldn't even think about announcing the release date of an upcoming Bond film until they have the shooting draft ready. Doing major rewrites month before the filming is supposed to start is exactly that leads to subpar Bond movies.
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