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It's true, but perhaps always worth trying to get ahead of the shift. I listened to that Empire 'best cinema characters' podcast a while ago (full of superheroes who I would say are charisma-free, but Empire gotta Empire :) ) and their assessment of Bond was a bit worrying in terms of being youthful movie opinion-formers (Chris Hewitt was on 007's side at least!). I think nudging Bond or his world along a bit does no harm, and I think NTTD did that pretty well in itself without damaging the core character.
That the film itself felt a bit less like the Bond of old to me is a separate issue. Things like the action scenes not being terribly good aren't really a result of what we're talking about.
Oh, absolutely. I meant it in a way of support for the idea of a female director - they should go for it if they want to because most people will go see a Bond film regardless of who's directing.
Yes, very true.
There is potentially some truth to that. Having worked on sets with a number of female directors I do get what you mean.
Again, I think it's why it's important to actually look at the individual directors. Is it better for the film to have someone more creatively involved in the scriptwriting process or someone who will take a script and effectively fulfil the 'vision' for the film through collaboration? These are of course the extremes of both sides and most directors are somewhere in the middle of this spectrum, but the series seems to have gone more for the former in the last few years, hiring 'visionary' directors like Mendes and of course Fukunaga who had a hand in the script. That's not to mention Danny Boyle too. That's not even mentioning what traits these directors are adept at. There's a pretty wide pool of talent (particularly women) directing for television who would be good though, but it's a question of what they want and who they can work with.
Then of course there's the script, which is arguably more important, at least at this moment. Even if P&W are back there'll probably be one or more hands on deck. Same question, what kind of writer do we go for? Personally I'd suggest someone like Krysty Wilson-Carins (1917, Las Night in Soho).
I don't think there's just one person that fits that bill though. Lots and lots of other factors (not least availability! :) ) come into play, so the producers can look for whatever they want.
I think it's fair that McQ "gets" MI when Woo did not.
I think it's fair that Gareth Edwards "gets" SWs when JJ does not.
I think it's fair that Meyer "got" Star Trek when Wise (and JJ) did not.
Thank you for your opinions.
I think Martin Campbell got Bond while Marc Forster did not.
I think that Bruce Feirstein gets Bond, while Purvis and Wade do not.
I don’t think any director got Superman except for Richard Donner.
Ironically, Rogue One apparently went through a lot of reshoots without Gareth Edwards.
As long as he doesn’t bring Aaron Taylor-Johnson along.
Yeah, because of his voice...I guess.
Have you seen him act? Terrible.
I know most people love Goldeneye, but I hope they avoid anything resembling Campbell/Feirstein. That movie presented a very generic James Bond that left Pierce's characterization adrift in a way that hurt his entire tenure. It wasn't much like Fleming, and it wasn't much like previous EON Bonds. It was more like what people who have never seen James Bond imagine it to be like, maybe as a result of having to reintroduce him in a new context. Not even the film's endless monologues about James Bond were able to flesh him out in a way that gave Pierce much to work with.
Fair enough, I've seen him in more than Godzilla, but it seems like you've seen him in more things than I have.
Yeah, I think his voice lets him down when he wants to act. I think if someone like Hugh Jackman had an almost-feminine voice, it would affect his acting.
I've only seen a couple of those, and he is a good actor in them, but I do think he doesn't have the movie star gene, which is something extra to being a good actor I think.
To put it simply, I want a straight forward action spy thriller with most of the Bond trimmings. To compare, I'd like the narrative tone from the sequence in The Living Daylights where Bond has to help Koskov defect. Asides from the bit with Rosika Miklos, it's mostly played with suspense and seriousness.
Of course, that sequence was based on the short story of the same name by Ian Fleming. However, I remember something Barbara Broccoli once said her father would tell her. To paraphrase, "When in doubt, go back to the books." This doesn't mean they have to go back to the books for the story, but I think they should for the tone.
With the saturation of superhero films, I think the audience is a little less interested in spectacle and want something different. I'm not saying it should be devoid of humor, but it shouldn't be full of gags and bad puns. I have more more thoughts on the subject but I will leave it there for now. Thanks for reading!
Bear in mind that Bond does disobey orders and technically 'goes rogue' in TLD, so be careful what you wish for if you don't like that sort of thing :)
So true. Craig gets alot of criticism for going rogue so often. But Bond has been going rogue since OHMSS (the raid on Piz Gloria). Dalton goes rogue in both of his films. It's part of the character's developing make-up.
Yes! Agreed. CR has that TLD tone too.
Agreed. I'm of the belief that the best Bond films stay in Europe with a Cold War feel (I'll allow a detour to the Caribbean for sunshine and because of the British history there).
I would like to see something different going forward than Bond going rogue/quitting his job. At this point, it's almost a cliche narratively. Bond regretting a killing? Bond seeing the impact on the victim's family (although that's very Bourne)?
I doubt in this day and age that Bond as an emotionless assassin would play with audiences (and I'd think any Bond actor would look for more to play in the role), but there must be more innovative ways to develop the character. New writers truly would help in this regard.
Yep, absolutely agree- if he just did everything conventionally then we wouldn't like him. The point of Bond is that he's his own man.
For the most part, when Bond doesn't carry out an order it's not a major issue and M agrees with him, trusts him. Even in OHMSS, when Bond is refused licence to pursue Bloefeld, M gives him a leave of absence obviously guessing what he's going to do; he trusts Bond, it's a big part of their relationship.
Well sorry for that confusion, TLD is not a favourite of mine.