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Put it in this evening, wanted to keep an eye out for this - I wouldn't say that it looks like he's grabbing them, but almost as if he's dancing to blend in with the crowd or something to that effect. You see him again mere seconds later in that final crowd shot before they enter the alley - the shot lingers for a few moments, I suppose in hopes of us noticing the tall, standout, possibly-costumed-Jaws that is, in fact, him.
I noticed a few things that hadn't caught my eye before.
1. When Dervall (strictly Angelo) is dying in the Vulcan, his watch changes several times depending on the the film angle. at some points it looks like the Breitling which Bond finally gave Domino, at other points it looks like he's wearing a dress watch with a gold face and black strap, and at other points it looks like he's wearing a diver with a stainless steel bracelet (it could be a Submariner due to the taper on the bracelet). All of this is while he's wriggling trying to get out of the chair before and after Largo cuts his air pipe.
2. When Bond is shot at the Junkanoo, the wound mysteriously moves around from his right leg (first) to later his left leg (while he's running) to back to his right leg (when he tends to the wound in the public lavatory).
3. Felix is seen wondering in and out of the film frame (quite conspicuously) while Bond is with Domino at lunch and then later at dinner after the casino. This is all before he meets up with Bond at room 304.
4. People mention that Nolan is a big Bond fan, and often note that the opening scene of TDKR is inspired by the LTK PTS, as well as the OHMSS tribute in Inception. However, I don't think many mention that the Fulton Surface to Air or Skyhook Recovery system which is used in the final scene in TB is also used by Nolan to allow the Bat to escape from the Hong Kong skyscraper in TDK. I was always impressed by both scenes but never connected them before.
5. The way in which Domino kills Largo is quite similar to how Bond kills Silva in SF. Only in this case, Bond is saved rather than M.
For example, the last time I watched it, I noticed that Bond is shot while in a bulldozer like he is in CR, although in SF he is wounded. I only noticed that similarity because of a discussion I recently had with MrKissKissBangBang when I was trying to defend the CR Africa chase, which he dislikes.
With how tied together and played up things are in the four of them, the movies feel like very cohesive journeys for Bond. At times it almost feels like the universe is trying to tell him things, like the talk with Vesper on the beach in CR that is repeated at times word for word with Madeleine on the train in SP. Very interesting in that way.
When Tiffany goes to Circus Circus, before she reaches the blackjack table, she passes the dealer who would give her the 'Why dont you play the water balloons' card. It's right at the start of the scene after the circus conductor gives his intro.
I remember in the Making Of documentary, they had to reshoot one of the Mustang on its side shots because there were crowds all gathered around watching the stunt, which made it seem obviously staged. However, if you watch closely, there are many quick shots during that chase where you just see lines and hoards of people outside casinos watching the chase unfold. It makes sense, how can you empty the streets of a city that is awake around the clock. It's not like the casinos would agree to close down!
In SF, the MI6 headquarters are housed in a square building. Yes, there are rounded parts of the building, but the right angles are emphasized. So is the case with Silva's lair, on the island, where the old buildings are right angles, very squared off.
In SP, MI6 is housed in a round building with a round courtyard (we see characters crossing it), and the new defense building is also round. The Spectre headquarters are in a round, hollowed out crater, where round buildings and spherical shapes are the norm.
Go to the :37 mark.
Yeah, it does appear staged, but it's not entirely unrealistic as there are always people walking around in Vegas. I'm sure if there was a real police chase going on, people would look to see what was happening. Of course, nowadays everyone would be recording it on their phones.
And the reshot is, afak, the reason for that 'changing sides' shot, which makes it far worse then people standing in the background in a busy area.
"If you are a Scottish lord, then I am Mickey Mouse!"
What's interesting is the fact that two actors in the scene have played next to Moore in the James Bond films (Alison Doody and naturally, Dobtcheff).
Doody coincidentally has starred with 3 Bond actors. Connery in The Last Crusade, Moore in AVTAK & most infamously Brosnan in Taffin.
"THEN MAYBE SHE SHOULDN'T HAVE ACTED WITH BROSNAAAAAAAAAAAAN!!!"
[eases back into chair] B-)
Seriously, I wish she was cast as a main Bond girl in her prime. She was definitely premier Bond material in the late 80s when she did Indy.
Which just got me thinking: Indy and the Last Crusade gives off far more classy Bondian vibes than LTK (released in the same year) does, at least imho. That should never happen again.
True. LTK still remains one of my favorite Bond films, but Last Crusade has class, humor, and high adventure in spades. It's just a great film all around. I salivate over the thought of Spielberg directing Bond through the 80s.
More recently, however, Rogue Nation dominated Spectre in the stunts and action sequences department. I didn't much care for the characters or the story in M:I-RN to be honest, but I sure had a great time over the course of those two hours. Racing onto the wing of the departing plane, shootout at the opera, diving into the Torus, that insane motorcycle chase. Man, showing how it's done...
The opera scene really was a thing of beauty. Even though it was quite obviously lifted from Quantum of Solace, they did such a remarkable job choreographing, filming, and editing it that I didn't even care. Between Ghost Protocol and Rogue Nation, the M:I films have indeed been channeling classic Bond more and more—in glamor, in wit, in girls, in globe-trotting, in action sequences, in limit-testing stuntwork. The only areas where they've really been letting me down have been in their stories and their third acts, which just haven't been delivering. But in terms of the overall approach, the overall style, that is where I want Bond films to move next. That is the right way to channel classic Bond. By working from the golden recipe with fresh ingredients, not by shaking in all the old ingredients with no recipe at all. ;)
Let's get back on track please.