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This seems to be the case. I haven't seen any of this guy's work, at least not that I'm aware of but if he's good, has the talent and wowed everyone in the room with his pitch then EoN have taken a huge step in the right direction. This is a tactic that Marvel often pulls when choosing their directors and it largely pays off. Hopefully speculation about Demange bringing in others to rewrite the script is true and elevates things.
Thought 71 was very good, anymore news out there on back to back filming of 2?
This sounds great but I'm inclined to take it with a pinch of salt, unless this is the plan and they'll keep it concealed till the press conference and then bang you aren't just getting Bond 25, 26 will follow fairly sharply after.
Kind of a dream for most Bond fans but not sure, I'm thinking one more and DC is out, he dismissed 2 back to back before, unless they've found a way to do this that won't consume his time in a way you'd imagine shooting 2 would involve.
Like to know what @RC7 & @ColonelSun our resident industry members make of this?
While it's certainly not essential, I think the reason to go through the effort is providing cohesiveness to the music of the film. The title song shouldn't be a separate entity from the score, but part of it; since it's intended to be a representation of the film, a summation of its story and its themes, it makes perfect sense to hear it throughout the movie. Now, as you say, a song might not necessarily lend itself to that, but I suspect every song has at least something --a phrase, a chord progression, etc.-- that can be successfully integrated into the rest of the score. The music of a film is a storytelling tool, and as such, it should be treated like a symphony, with motifs and recurring ideas., which is why a title song shouldn't just be heard once and then discarded. John Barry believed this: when by request, he composed a second title song for Thunderball, he went back to his score and inserted the theme in different places. Admittedly, it was his own song, and I'm sure he wouldn't have been as interested in doing that, if at all, with someone else's work, but I think an effort should be made in the service of the (musical) storytelling. And personally, I think there's still a fair amount of creativity involved in the process of taking a song and integrating it into a score.
I finished my arrangement, but I'm not sure in which thread to post it. Any ideas? Edit: I found the thread. I knew there was a rescore thread somewhere!
"I'm an early riser myself"
Has quantum organization made correct calls in the past is he a reliable source?
:))
It seems more and more likely that Annapurna Pictures will distribute Bond 25. (Although I'm still thinking it's Warner that won the race.)
Gustav Graves had one? Anything is possible! Lol!
Can't see DC doing back to back movies!
Takeaways:
If I was EON, I would dump this Blofeld continuation idea for B25 and go with a straight standalone. They can have a #2 if they want, but I would mention Blofeld only in passing, if at all. I realize this suggestion may disappoint Fleming purists.
Peter Hunt never directed a thing before OHMSS. Just sayin'...
The only othe rones at this point that excite me would be Nolan, Campbell or Spielberg.
Not strictly true, Peter Hunt was second unit director on both YOLT and Chitty Chitty Bang Bang before OHMSS. Second unit is still directing.
From the majority of other posters here, I notice no one seems at all bothered by Demange's shaky-cam-style approach of direction, reminiscent of Marc Forster and Greengrass. Therefore, there's a chance that Bond 25 could end up looking more like a Jason Bourne film than a Bond one. I'm not sure I can put my faith in those that offer up their incontestable assurances without scrutinizing what the end product might look like.