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I’m still skeptical about a period piece but I would love to see the original Bond car in one of the films. I think it could work in a modern one too to be fair. Maybe Bond is undercover at some exclusive classic car meet/auction type thing and ends up having to race the bad guy. Or maybe the bad guy has an insane collection at his mansion and Bond ends up stealing the blower to escape.
Now THAT would be an homage I’d fully endorse! Brilliant idea, @thelivingroyale. Just imagine the skilled driving Bond would have to do to evade modern cars in a Bentley Blower. What an iconic scene that would be. Pair that with him having a modern Aston daily just to go from A to B, and we’ve got perfection.
I’d be so up for that in a modern film as well. Surprising it’s not something thought up already.
But they should do it with a real car, practical effects. Nolan would do this wonderfully, just like with the spitfires in Dunkirk.
It feels like more trouble than it's worth in my opinion
That being said, I’d rather have @thelivingroyale idea, if Nolan wants to scratch that itch.
To be fair, DAD does this quite a bit and it's not a period piece.
Nothing wrong with practical effects, but to be completely honest I think the argument between 'practical' and 'CGI' is very oversimplified nowadays for those not in the know. Often films contain a mixture of both for action sequences in films like Bond, and usually the CGI is there in order to facilitate things which are not immediately obvious/directly to do with the stunts themselves. For a chase like that, a 'real' car of some sort would be used. It may not necessarily be the exact model from the period in every shot (I don't think even Nolan would do this for every shot if he filmed such a sequence) and would most certainly include at least one mocked up version when the car inevitably gets battered, but in order to capture footage for any sort of digital enhancement you need a level of practical filmmaking.
It's similar to me when Nolan bangs on about digital vs analogue filmmaking in interviews. Oversimplified and a bit tedious to listen to.
I hope Eon goes with someone with more of a sense of humor and lightness.
If he did it with spitfires, he’d do wonders with a Blower. I have a friend who restores and maintains Bentleys, and we’ve had this conversation before, about what would it cost to buld two or three replicas for a big budget film. She said it wouldn’t be different from bulding a large set with hidraulics or pneumatics or bulding fake DB5s. It would take a large some of money, but that’s what big budget’s are for.
And then they’d complete the settings with properly done cgi. Like Nolan does for most of his films.
I’m guessing he didn’t bent Paris for Inception, or had a gargantuous titlewave produced for Interstellar, or killed a star to generate a black hole ;)
Tenet I think is the closest. Maybe not a 'bad' film per say, but it's not a film I get much out of, and it's not an uncommon criticism. Certainly the sound design decisions are bad I'd argue. I don't think Interstellar was entirely successful either. Nolan's had his share of underwhelming films in this way (although these things are subjective - I personally don't like TDKR very much), but broadly yes, he hasn't had a 'bad' film. And most commercially successful directors have at least one that's considered 'bad' at least critically.
I think no matter the director a Bond film with such a sequence would have actual Bentlys in at least one shot, even if they were later models done up to look like the older ones, as Dunkirk did with the planes. Replicas would still be used for different shots when it's damaged or made to do things an actual Bently from the period wouldn't. I don't think it'd be unique to Nolan's style really. It'd be a cool thing to see though.
I mean, Nolan's had some poorly filmed/edited action sequences even if they used completely practical effects. The notorious truck chase scene in TDK is an example (still have a tough time with that sequence even today).
He's certainly an important voice in the analogue vs digital debate, but ultimately he's a director with a lot of resources/wide budgets at his disposal who happened to begin his career at a particular time. If he made Following today as a young filmmaker he'd be shooting digital.
Oh yes, I agree creative restrictions can be very positive. Even the great masters like Kubrick and Hitchcock made wonderful films for lower budgets than their previous bigger scale ones. Even Nolan had to work with restrictions during many of his films, and I’d argue they’re his best.
Cheers too :)
With Nolan attached to it, a lot most probably. Even though I'm not a fan of Oppenheimer, I can't deny he is having his blockbuster return to form, ala Spielberg and Raiders (after the 1941 failure).
A new Bond film set in the late 50's, closely tied to a Fleming novel, with Nolan at the helm as director, will be HUGE! There is no doubt about that. It will set the internet on fire!
There are a large number of Bentley 4½ Litre replicas around: quite a few later Bentleys like the MkVI have been converted into 30s Blower-style lookalikes, and they're pretty hard to spot. Here's a 50s one which was converted in the 70s, for example. Bentley themselves have actually been making brand new ones over the last couple of years at about £1.5 million each- I've seen a couple up close and they're incredible.
But we've just had a chase with Bond using his classic car to escape from baddies, I don't need another one.
I must admit all the stuff I saw about him refusing to use digital effects for the nuclear explosion in Oppenheimer did annoy me. It's just a bit tedious.
No.
Well, some things do make sense. Others receive my "no" as well. A quick "no", in fact.
Oh, I quite agree.
It's clickbait, so mostly worthless; but I don't disagree with all of those. The main ones I don't like would be: 7 (as it's just too vague to say the tone shouldn't be too dark or silly- that could pretty much mean anything); 5 (I think Bond should stay present day); and 4 (one person's goofy gadget is another's bit of fun). The last three are just a bit too subjective too and depend on the execution rather than being fundamentally bad ideas.
It depends upon the audience, Bond needs to be focused upon general audiences, especially the modern generations of viewers.
I have no problem with Nolan directing, but period piece is a lazy move and would no guarantee of box success (it's a favor for a few, especially those die hard fans, sans me, but not to a wide range of general audiences).
I'm afraid, but that move would possibly lead to Nolan getting some flaks (something that he didn't have before), actually that's already showing in Oppenheimer with some already criticizing the film for being slow.
Indeed, this is exactly my thought.
Because if the film's the case, then I'd rather watch the classic Bond films that were truly made in that era.
If we're into period pieces, especially Bond, then I'm fine with a TV series/spin off, exactly like what you've said, and it should be limited, just 50's, it should never reach the 60's (as it would complicate the timeline of the 60's Bond films).
Double Zero
A period miniseries that faithfully adapts Fleming's short stories.
Starring Thomas Doherty as James Bond.
That's the only way i see it working (at least for me).
Many who saw Tenet would disagree with this, 😂
But, why? What's the point in a duller version of Goldfinger that has a plot incredibly similar to the movie, but slightly less interesting, without the cool music, the amazing sets or Sean Connery or Gert Frobe etc?
Exactly, leave them as they are, adapt the short stories faithfully instead.