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I agree with you regarding SP (a film for me that had a lot of potential, really), but I'm not sure about TWINE (it's a film that's heavily convoluted, it's a film that wanted to be GF, but also wanted to be OHMSS, it felt like a film full of patchy ideas that didn't came off together).
When it comes to Bond being a trendsetter, as much as I liked it too, but the last Craig Films showed and proved that it wouldn't likely to happen, let's admit it, the writers are clearly running out of ideas, with the Producers being uncertain about which direction Bond should go, then becoming a trendsetter feels a bit too far and impossible to happen, especially that there almost no Fleming books left to adapt, back then, it's possible, because the ideas were purely original from Fleming Books (think of the 60's Bond films), but now, I don't know.
Having the Bond filmmakers be creative is a wish needs to be taken to a genie, in order to put Bond in the top and be a trendsetter again.
Right, so don't make Bond a trendsetter, but also don't take inspiration from the trending movies of the time, and if they're going to do so, do it with The Batman and the Amazon Prime Jack Ryan series*.
*imo
I think i'ts pretty safe to say EON will mantain the rights to cinematic Bond for a very long time until that day happens, and when it does, i hope they wisely choose their succesor.
That may be, but who will be running EoN?
MGW is in his early 80s. Will he be continuing?
Presumably BB is going to continue.
Will Gregg Wilson be taking over from his dad?
What will EoN do when the Bond novels become public domain in 10 years time, when anyone could make a James Bond film?
Is that true, though? Does the novels becoming public domain automatically mean that anyone can produce the films? I'm only asking because I honestly don't know how that works.
I have almost zero understanding of it but I was under the assumption that anyone can tackle the world of the novels how they see fit once they enter the public domain.
I don't know for sure either as it's all very confusing, but I'm always very dubious. 'James Bond 007' is a trademark (not copyright) which is held by Danjaq and MGM in multiple territories and will remain theirs for as long as they go on renewing it, much like the Coca Cola Company own 'Coca Cola'- trademarks are forever, unlike copyright. So I don't see how anyone could make a Bond film with James Bond in it apart from Danjaq/MGM.
That's a pretty interesting question, will we have another Kevin Mcclory? Will there be another Never Say Never Again?
I can imagine an independent studio doing a more faithful adaptation of Moonraker.
Tom Brittney is Ian Fleming's James Bond 007 in...
MONDAYS ARE HELL
Indeed. And I take it that important if not essential elements such as the James Bond Theme, the gun barrel opener and perhaps some characters such as "Q" are entirely owned by Danjac/MGM, no?
That whole trademark issue is what I thought would be a sticking point and be the difference maker in a situation like that.
Admittedly my knowledge on Fleming’s Bond doesn’t extend to the short stories as I haven’t read those yet. But I know well enough that Fleming didn’t retroactively add Oberhauser into previous stories to make him a constant presence in Bond’s life, and interfering with the missions Bond’s assigned from afar. My problem isn’t adding details of a past life to a character so much as retroactively altering the plots of previously established films in order to give an illusion of continuity, like having Blofeld be responsible for Le Chiffe, Greene, and Silva up until that point, and to go even further, making Bond and Blofeld step-brothers. So they are entirely different from the likes of Bond/Anya’s relationship, as well as Bond/Trevelyn’s.
Not necessarily. Going back to my example of FRWL, there’s a huge amount of dramatic tension in the scene between Bond and Grant in the train cabin, and that’s all from the suspense being built by the filmmakers in having Grant constantly shadow Bond throughout the film. Now Bond does have an emotional connection to the circumstances; his friend was recently murdered aboard, and he’s unsure in how he feels about Tatiana. But his emotions aren’t what’s driving that scene, it’s the suspense that’s slowly building and building until the big fight begins.
Perhaps so, and I’m welcome to entertaining that idea a bit more. But I find it very odd that in the years after Die Another Day as well as the introduction of the Bourne Series, that there was this period of time from 2002 to roughly Skyfall’s release where certain critics and voices were coming out accusing Bond of being outdated for modern times, and some even going to far as to negatively compare both Bond and Jason Bourne as characters. Even Matt Damon and Paul Greengrass were publicly trashing the character of Bond around this point. Despite both Casino Royale, and to a lesser extent Quantum of Solace being both massive hits financially speaking, some people were still slagging off Bond as “copying” Bourne; a criticism which may hold some merit with regards to QOS, but absolutely zero with Casino Royale. Of course people have always said similar things about Bond ever since Connery left, but I find it a bit coincidental that they chose to include such a subtext that time around.
Plus I don’t think Goldeneye was meant to act as a celebration of the series/character. It was more meant to re-establish the franchise for a new era, and on that basis it absolutely succeeded. Now Die Another Day on the other hand tried to be a celebration of the series/character, but failed in its execution. That I’ll say Skyfall definitely improved upon.
Yes that must be true.
Music rights are probably even more complicated, with publishing houses and all that, but certainly no-one other than the proper rights-holders could use it, yes. And they still own all of the previous movies, and all studios like a back catalogue to exploit on streaming, physical media etc.
Having recently re-watched DAF while reading the novel I was astounded by what a bad film it is. All the more disappointing as SC remains my favorite Bond. After the brilliant OHMSS, the film returns to a familiar formula while anticipating the RM era. No wonder Connery seems disengaged. There simply isn't anything there to work with. It feels old, and silly, and cliched. What a betrayal of a much better story in the novel.
I don't want to see another story arc in which Bond ages out by last film. I don't want to see a new Bond film in which I know we're eventually going to learn of Bond's burden this time. Grieving over a death, upset to the point of resignation, concerns about his liver and lungs, Bond alone in a tropical hideaway. Been there done that.
Certain aspects of a Bond will always remain, but a series can be reinvented that doesn't feel like a stale rehash of what has come before.
I actually prefer the film. A few sequences aside, the novel is kind of a slog.
💯 on both counts.
Connery may’ve looked a little heavier in his return, but the man was light on his toes.
And DAF, the novel, is my least favourite. It IS a slog to get through, and I think the film was one of those rare times (like Goldfinger), where, warts and all, it’s better than the Fleming creation.
Yeah he's fully engaged in DAF. He's giving a lighter, more knowing performance than before, but that's still not easy to do. He's being paid a record amount: he's giving them their value for it.
It was something completely in his control. Just look at him, 9 years later, in "The Great Train Robbery; he came in lean , fit and looking impeccable. That is what he should have brought to the set of DAF.
One thing about Daniel, he came in prepared for all of his films; hopefully the next actor will show the same consideration.
He wasn’t in the finest shape of his life but looked good enough to me!
Not too open the Nolan rumors again, but there was something I thought about. What if EON is planning a opening two-parter. Better planned of course a bit better than CR and QOS. The number one way to achieve this would be hiring a director for both parts right away. The only 2 times where the director came back for that are Terence Young for DN to FRWL and Sam Mendes for SF and SP. It did feel more natural, in terms of the storylines, even for SP, in the long run.
I trust Amazon just slightly. Clearly, Gregg Wilson is being planned to take over. He’s probably either helping with casting and writing. More than location scouting and photography, now. He’s also making cameo appearances like his dad. MGW is getting too old, especially if stepbrother Blofeld was his idea. Even Cubby said enough is enough, with old age. BB needs to grow beyond DC and Purvis and Wade. She needs to stop focusing on family soap opera dramas, that feel to artsy for Bond. What I’m saying is that Bond truly needs a reset in more ways than one. The Nolan brothers could be that answer. They could introduce characters like May and Charmian Bond, like in the style of their Dark Knight trilogy. I also imagine Nolan (or any director, now) wanting to reinvent Blofeld in particular. Or another classic villain. I’d go for Goldfinger or Trevelyan, as they’re a lot of real life Goldfingers in the world now, namely politicians and CEOs. Trevelyan could be a multi story arc where he slowly becomes evil.
As for the books going into the public domain, honestly, EON should use a continuation novel or two for a film basis. There’s quite a decent amount of great stories that aren’t Fleming, that could be set in the present day. Are we really going to get excited about another Purvis and Wade screenplay? EON doesn’t need a full time writer like them or Richard Maibaum. Always be pushing Bond forward. There’s many ways to do it. Sometimes, EON needs to step out of their comfort zone, with regular cast and crew members. There’s loyalty, and there’s too much faithfulness. BB needs to realize this like her father did with Roger Moore. At the end of the day, these are entertainment. But some people need to have their time to move on, just like Bond at the end of a adventure. Can’t be loyal to EON’s real life M forever!
Much remains in Fleming's novels that could be used in future Bond films.
May if i borrow this idea for a Bond novel i plan to publish on Canada?
I'll pay you with a Delicatessen in stainless steel.
Also for my personal pleasure, of course.
One of the thing that I really liked in No Time To Die was the " winged submersible"; it was just enough of the fantastic brought into the mostly grounded Craig era.
I have some serious issues with NTTD, the least of which is Bond's death, but I did like the way it melded the different approaches
That's what i said earlier, the next Bond needs to achieve to balance the tone between the lighter and the grittier entries.