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I found the action hard to follow, both in Bourne 2 and 3 and QoS, because of this. That's enough clarification? The 1st one is nicely lensed, and does not have any shaky cam/intensive 1-sec cuts.
it sounds like her in the sequence on the train.
i think Jodie Foster always dubs herself in French. Even though she isn't french!
Jodie Foster as Bond Girl:
Agreed. The Sharkey can in QS as distracting as it was was never as bad as the Bourne films. Its so disruptive I can't even watch it.
Bourne despite being an American production more or less with a British director is just too anti-American for me.
As for the action, there´s a making-of feature on the Bourne3 disc where you see in detail how Damon/his stunt double does chase scenes on top of buildings in Tangiers. They had elaborate wire constructions for the camera to follow the action smoothly, pretty much as in LOTR. In the film, you don´t see any of that. In fact, if you freeze-frame Bourne 2 or 3, during many action scenes you don´t see details, much is blurred, things/fighters are only partly on the frame, the action mostly happens in the imagination of the viewer. Now it is simply impossible to shoot with the camera gliding smoothly along on wires and then having only shaky images, as long as you don´t intend to do so from the outset. Wether or not this makes sense is another matter.
QoS was clearly inspired in its visual style by Bourne2/3, there´s no doubt about that. Nevertheless, the result differs a lot in the details. As @trevanian pointed out, if you freeze-frame the action scenes, you´ll see a lot of very clear and not blurred shots. Yes, there are shaky shots too, but they are by far not the majority (as in Bourne2/3).
The rhythm of the editing is completely different in Bourne2/3 and QoS. Both are fast, no doubt, but still very different. SF has longer shots, which makes things easier to see of course, but IMO the rhythm of the action scenes is much better in QoS.
I´m hoping for SP to top that. We´ll see.
yep went back and listened again and it does sound like her in the train sequence
No you couldn't do an indepth review of QOS without mentioning Bourne, to do so would be an evasion.
And also when she says SPECTRE IMO. Only the shouts sound weird. But maybe she's not used to dubbing and could not re-create her acting in the sound booth ! ;)
I think it's the voice of Léa Seydoux but the French version is just terrible and ridiculous because some translations don't really match. The voice of other actors (like Waltz) is also very disappointing: as usual, it needs to be watched in English.
that is the problem as well
Does anyone have any information about how to get to the actual premiere (with the cast etc.)?
I've found a similar Skyfall thread about that http://www.mi6community.com/index.php?p=/discussion/3635/skyfall-premier-tickets-can-anyone-help/p2
I know it must be super expensive but I'd love to know how much and what does the ticket include and how to get it. Please do share any info
Thanks a lot.
I like it. Absolutely Krazy.
I hate handheld shots, makes films look amatuerish instead of epic in scope. Although it looks good in the shots you mentioned, what is the need for handheld shots in the Q scene at 1:19? Looks like it's filmed on a boat. Same with the scenes in M's apartment in Skyfall.
Even in quieter scenes, if used correctly it adds an element of breathlessness and tension, as if the viewer is struggling to keep up to speed with what is being played out, or to emphasise the gravity of what is happening in the story. Bonds world is about quiet corners and shadows as well as sweeping scope and epic nature. If we were to follow Bond in real life, we would always be 2 steps behind, struggling to keep up, out of breath and disorientated.
In Skyfall, Bond was drunk and the scene was small and personal. The visual link is obvious
I think we need to see the film as a whole before critiquing.
That was incredible! Excellent job.
He also praised Jeff Pfeifer re: the music, and talked about how he'd hum bits that he'd want for particular parts of the trailer down the phone to Pfeifer, who'd then turn them info full orchestral pieces. A much more symbiotic process in terms of scoring/editing compared to most other film trailers.