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Bear in mind, Annapurna, or in fact any of the other studios, wouldn't have any creative control....this deal is purely just for distributing and marketing the film. There's been nothing suggesting it's also a co-financing deal like Sony had for CR-SP. This is still fully an EON/MGM film.
As I thought more about it, there is a possibility that it could be MGM/Annapurna + someone else also. As @M_Balje noted above, Annapurna have multi-partnered in the past because they've essentially been a production company, only recently getting into distribution (I think Detroit will be their first major effort, coincidentally with MGM). Given there's likely going to be limited profit for the distribution partner, this is mainly about bragging rights and exposure anyway, and I can see Annapurna (who has deep pockets with Ellison) possibly tying up with a larger studio for an attractive proposal. Everyones risk is minimized in this fashion and Ellison gets her big win. The hedge funds that currently own MGM may have some inclination to go in this direction.
Agreed. One of the big disappointments of the Craig era for me has been the bungled and shoehorned attempts at continuity. It's like a bargain basement version of Nolan's Bat trilogy (which did have a holistic conceptual & aesthetic arc), and coming so soon after that landmark effort (with SF & SP), many folks (including most definitely this viewer) see it as pilfering. That's one of the reasons I want it over and done with quickly if Craig is indeed back. Put a bullet in it and let's move on.
Agreed again. All he needed was to be the 'big bad' behind the nefarious SPECTRE, which had a division named Quantum. Brothergate was a uniquely Mendes waste of space, shockingly approved by many who will still be involved with the franchise. They could have done so many things with the White/Blofeld situation as well, including showing Blofeld personally take White out in a more dramatic fashion etc.
I'd be interested in finding out when Eon started negotiating for the rights to Spectre. Was the organization in CR intended to be a Spectre-like organization or were they introducing it slowly and mysteriously in the hopes of getting the Spectre rights?
It is fascinating to me that despite all of his screen time, Eon has rarely, if ever, gotten Blofeld right (IMHO, the closest they came was OHMSS). While Savalas was a bit too hands-on and gangsterish for Blofeld, he did display the requisite cockiness and menace. And of course he had the ideal sidekick.
And yet there are other villains who come across far more successfully with far less screen time (Dr. No, Vesper, and Silva all come to mind).
The thing is that with Detroit, Ellison is trying to make a name for herself as a distributor now. Feel AP partnering with a larger studio to bid for Bond would be the opposite of that. AP's current MGM deal is for distributing the films outside of North America, with the exception of the UK and a number of other European countries. So if AP does get it I'd imagine this same deal will hold - they self distribute domestically, MGM in most OS markets and some other partners for UK and so on which aren't covered by the MGM deal.
In any case, I highly doubt Broccoli will relinquish any creative control over 25 to whoever ends up getting B25 distribution, even if it is a co-financing deal. This will be her show to run. Now, in the longer term - we're talking 26 on, I can see AP as a fascinating partner because in that case yes, they'll have a line to Bigelow and filmmakers like her, they'll reconfigure the direction of the series after Craig and that's where Broccoli is more likely to get Ellison involved creatively. In a similar way, if WB nab it, it'd get a line for Nolan.... But unless Bigelow is happy to work within the existing creative framework of the Craig era (and same goes for Nolan if WB get it), we won't see her direct B25.
I can see Ellison and Babs getting on quite well. Girl power and all that jazz. I can also see Ellison doing whatever it takes to get in for B25 (she's got daddy's edge and business savvy), so that she can indeed help shape the strategic vision post-B25. You have to admit that they are the wildcard in the list of studios. What are they even doing at the table? That means someone thinks they have something worth looking at. Sony is the other one that has an advantage due to incumbency and familiarity, but they could be seen as yesterday's news.
I actually thinks whoever gets the next film will move quickly to deliver on the one after that. I don't see a long break. I think everyone will use B25 as a financial stepping stone.
A nice little insight from this forums favorite.
Interesting information and, despite popular belief, filmmaking as usual. If SF's e-mail correspondence between the studio and EON were hacked we'd find the same mad dash to sort ideas and shooting out as we did in SP, but that film got the unlucky position of being the one whose troubles were made public. It's now viewed as a messy production simply for experiencing the very natural and understandable obstacles associated with enterprises like movies where creatives use bean counters' money on a high-risk project with numerous players and logistics involved. It's never pretty, and things don't go as you expect them to at any point.
Another moment where I can't tell if someone is bullshitting. This may be why I'd prefer that those who had issues with SP's script refrained from posting their own ideas that actually read far worse than anything "hack" Mendes could engineer. It will stave off any shame or embarrassment that way, and halt retorts from asshats such as myself.
If somebody supplies half of the financing, they're going to want a voice in how it's spent. They'd be foolish if they didn't.
Remember, United Artists was relatively hands off with Broccoli and Saltzman. But, when push came to shove, UA wanted Connery for Diamonds Are Forever and UA got Connery.
Big business at its best.
@bondjames, yes, a lot of money is on the table and hands have to be played. I for one look forward to reading down the line some of what went on behind the scenes leading up to production, to see what decisions were made when and who knew what.
I'm sure we'll hear about some of it in due course @0BradyM0Bondfanatic7, as we normally do. It's probably a difficult decision for Craig, because he's busier now than he's been in some time, and with excellent & critically rewarding projects in the pipeline. Sometimes, one has to strike while the iron is hot, particularly as decent & lucrative options for actors dry up as they age. Bond is a huge time and physical commitment (including junkets and the like which he dislikes doing) and I can imagine it's a decision he's wrestling with.
I don't really think he cares all that much at this point about Bond, but he'll do it if the script is reasonable and if he thinks there's a reason to come back. I think he'll make the call on 'feel' with this one.
I have a feeling EON has a backup in case it doesn't work out.
Woah!
I'd like to keep him around. Mind you, go real young after he is done, but for now I think he has really found his stride as Bond.
He had some great moments in both SF and SP
One of my favourites in SP, is when he first sees Blofeld's fresh new scar.
The moment comes at a very tense time in the film, but our Bond does take time to have a little smirk at Ernst's expense.
Much like vintage Connery. "Are you having lunch at the White House too, Goldfinger?" before they get down to the business of trying to kill each other.
The capper to his Bondage!
All tied off with a bow.
That's the best idea I've heard omg. They can have Bond go rogue and join SPECTRE. I am bang on board to see that film.
Agreed again. All he needed was to be the 'big bad' behind the nefarious SPECTRE, which had a division named Quantum. Brothergate was a uniquely Mendes waste of space, shockingly approved by many who will still be involved with the franchise. They could have done so many things with the White/Blofeld situation as well, including showing Blofeld personally take White out in a more dramatic fashion etc.[/quote]
Hahahahah-" brothergate"
That's hilarious
@bondjames, I think Dan really loves the job, but he's also very mindful of what his limitations are, and when the right time to leave is. He won't pull a Roger, basically. He's always gone into the process looking for something interesting to say with the character, and if he finds that this time with the team they have-who he may've already collaborated on ideas with alongside Barbara-I think it's surefire he's return.
It's clear that he loves the work and the people who make the Bond films, and he always wants to give it his all for them, or it's nothing. He has said the same thing in the past few months, confirming that he'd do it as long as he gets a kick out of it, is able to physically do it and it's enjoyable for him. If Bond 25 is indeed his last, he's jumped on the chance because he's proud of the past work he's done and wants to conclude it on a high that sees him going out at the right time, where the character he made this Bond to be has been comprehensively examined and tested. He can then put it to rest knowing he put all of himself into it at every moment, wearing every hat on the productions like no other Bond before, and can say goodbye without regret and with pride in what he helped to create for over a decade.
It has the chance to be the most triumphant end to a Bond era we've seen. I don't think he'll see the drawn out trial of Moore's era, the missed potential of Dalton, or the sudden exit of Brosnan. Dan's ending will be conclusive and on his terms, as it has always been with his Bond.
...and we've already seen it?
Not sure what you're trying to argue...
Haha, how artistic.
Back last Autumn Craig said that there were no plans for another Bond film, and that all concerned were "focusing on other projects". Doesn't really fit with the visual of EON as a tightly coiled spring ready to burst forth from the starting gates on Craig's final film.