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Sure thing wrong price.
However, I was thrilled when Daniel got it.
I still think Babs is eyeing Jack O connel for the role, he hasnt hit mianstream yet & is still an unknown.
I didn't say anything about me believing Harris. I've only commented on the reddit post which I'm not naive to believe.
I take it you believe fluff put out by actors, then?
telegraph.co.uk/tv/0/britain-ruled-nazis-would-bond-do-007-writers-purvis-wade/
The thing is,” Neal Purvis frowns, “I’m just not sure how you would go about writing a James Bond film now.” He looks at Robert Wade, sitting on the adjacent side of the table, who scratches his head with congruous bemusement. This is, frankly, not encouraging. As the co-writers of every Bond film since The World is Not Enough in 1999, you’d hope if anyone could predict 007’s next move, it would be these two.
But today, in a chilly conference room in the West End of London, while flurries of grey snow whirl past the dust-streaked window, Purvis and Wade are prepared to admit temporary defeat. The real world has out-Bonded them. Russian subterfuge has sunk the West in tumult. Britain’s global standing is poised on the edge of a Brexity blade. An ex-MI6 agent has gone to ground following a mission involving a gold-guzzling, grudge-grinding plutocrat. Ian Fleming clearly saw 2017 coming.
“Each time, you’ve got to say something about Bond’s place in the world, which is Britain’s place in the world,” continues Purvis. “But things are moving so quickly now, that becomes tricky. With people like Trump, the Bond villain has become a reality. So when they do another one, it will be interesting to see how they deal with the fact that the world has become a fantasy.”
Throughout our conversation, Purvis and Wade both refer to Eon Productions, a.k.a. Bond Mission Control, as "they", despite their long-running alliance with the company. The union began in the late 1990s after their script for Plunkett and Macleane, a Cool Britannia-surfing highwayman caper with Jonny Lee Miller and Robert Carlyle, caught the eye of producer Barbara Broccoli, EoN’s very own M.
It’s true that an eerie hush has fallen over the production company’s Piccadilly headquarters since the release of Spectre in October 2015. A director is still being sought for Bond 25, while Daniel Craig’s contract to return remains unsigned, and reportedly not for a want of zeroes on it. But here’s an upside. For the first time in over a decade, these two writers – friends since they bunked together at the University of Kent in 1980, and whose Bond career has taken them from their late 30s to mid-50s – have had time to try something different.
Not least of all Spectre, which the two were only brought on board to re-write in the summer of 2014 after executives at Sony Pictures flew into a panic over the film’s third act. They spent the next six months offering possible alternatives to the studio, a process which continued right up until filming began in December.
“People were already in pre-production on the film,” says Purvis, “and they wanted to see things all the time. And sometimes they couldn’t decide what they wanted until they’d seen it written. So you write scene upon scene upon scene. You write so much. But how it finally got shaped was probably down to [Sam Mendes,] the director.”
One sticky problem on Spectre: the original script ended with a helicopter crash on Westminster Bridge in London – and before Purvis and Wade started work, construction had already begun at Pinewood Studios on a demolishable full-scale replica of the landmark. So whatever they came up with had to entail crashing a helicopter into the damn thing somehow.
In the end, they used it as the stage for Bond to make a life-changing choice: would he walk off to a new life with the comely Madeleine Swann on one side, or slink off to M on the other, back to a life in the shadows? Purvis and Wade had him choose the latter: in the end, they were overruled.
They’d originally planned to leave the series after Skyfall – a film Wade reveals sprung from discussions with Mendes as a new spin on Fleming’s novel You Only Live Twice, with a physically and psychologically dilapidated Bond dispatched on an intentionally ‘impossible mission’ – which made their work on Spectre something like an encore. Would they go back to the franchise again?
"Never say never,” Wade quickly replies, with a glow of satisfaction. “But for sure, Spectre felt like it closed off a certain way of doing Bond. And I think whatever happens next will be quite different.”
Are they serious? The movie had to end with the helicopter crash because they had built the replica? Oh right, all the money had been spent on the world record explosion. Why should you film a movie with a good script if it's going to cost you more?
No wonder SPECTRE turned out a shitty movie.
Agreed plus one times two infinity.
Does mirror what Harris said. So sorry Reddit hack.
However I don't like P&W so chummy with producers ...ugh
At least I agree with them that they have no ideas.
And "gasp" that Bond should have slid away and returned to M.
And any Bond villain that acknowledges and fights evil like isis is a villain I can live with.
Clearly you don't know how a large scale production works. Since the beginning of time with these blockbusters, set-pieces are written first and then the storyline around them, despite what the director or scriptwriter says. That is because from a financial standpoint, the set pieces are what's marketable (unfortunately). The sets also costs a lot of money, and need to be built before the production commences. There is no time for wiggle room on these behemoths.
Purvis&Wade came on in a late stage and had to find solutions on the obvious problems, so they had to write around the problems. They had to compromise to make the director, producers and the money-men happy.
Keep in mind also that Purvis&Wade was/is EONs in in-house writers. They pitch the story that makes EON get the necessary funding(often derived from ideas that the producers has brought forward)
Later when a director comes aboard, he/she can choose to disregard the script and start with something else (Forster) or build upon what is already there (Apted). What is important is that there HAS to be a script before anyone can sign on. That is/was Purvis&Wades work. Thus they can be "blamed" for some story choices and dialogue, but absolutely not everything. There are too many cooks to pinpoint how did what. But most often it comes down to the director and the producers choices.
There is most likely a couple of writers employed at EON house as we speak, scribbling down ideas and if the ideas make it to the screen they will be credited as the writers. If not, well then we will never know who they are or when they worked on it.
You surmised this how?
Sorry but your level of denial and inability to see that some random reddit user, delivering a Bond "scoop" only shows how desperate you are to grasp on to any bit of traction for Bond news; and/or just how gullible you are. Not to deliberately sound condescending; but you may not be new to the Internet but you've still got a lot to learn how it works and the machinations of sites like Reddit.
It's not being gullible when it has evidence to back it up. Why don't you step back from the computer for a bit and think about life.
It's funny, when Skyfall came out, M said "Our world is not more transparent now, it's more opaque", now it seems like the opposite is happening. There is more of a clear divide.
I think a good direction to go would be something like Dr. No. Straightforward, but with a defined mad man with a clear objective.
=D> =D> =D>
Do you recommend reading them? Sort of interested.
That sounds better than what we got.
I'll second @ClarkDevlin. ..very recommended.
But I am NOT discouraging you from reading. These are highly entertaining thrillers.