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You are very welcome.
I would be happy if it was the 2005 - 2010 Nolan that was more of a showman and a popcorn director with an arthouse sensibility, but, at least for me after inception he became more concerned with the message and themes of his work, and not whether the story was engaging and made for a fun watch. If he can resurrect that 2005 - 2010 energy then I'm all for him directing Bond 26, otherwise there are better options IMO.
@defloria
Please avoid double posting. You can use the 'edit' function (see little wheel in upper right corner of the post window). Thank you.
But let’s not get too excited. There’s a whole lot of other obstacles keeping Eon from making Bond 26. You will all just have to wait it out.
;)
I don’t know if it’s worth trying to read anything into that (ie. It’s tempting to speculate that Nolan has in fact met with the producers and is trying to negotiate more creative control… the truth is we just don’t know one way or the other now and won’t for some time, and the quote itself isn’t directly to do with Bond). But obviously Nolan wants to do a Bond film, and wants a good degree of creative control.
It really depends on what his ideas are and how he works with the producers. I’m not sure if that’s something he’ll get though, especially going about it publicly like this. I can imagine EON want to avoid another Danny Boyle situation in which disagreements result in a change in direction, lost time, and a scramble to get a new team. I think they’ll want more of a team player from their director.
At risk of writing something seriously wrong with hindsight, my gut instinct is it’s unlikely Nolan will direct the next Bond, or indeed any Bond film. But only time will tell.
Eon killed James Bond. What idea could be more radical?
Nolan is not cheap. This is the biggest issue.
I’m sure they can afford him, but yes, when thinking about a new era I think they’d want to put more money into the production rather than the big name talent. They’d likely want to make sure the film itself is economical but effective. I don’t think it’s the biggest issue though. I think regardless of the director EON just want to know that they can work with them.
Nolan is a great film maker, but I don't see him as the great savior of the series.
He's not Cubby and he's not Martin Campbell.
Bond 26 will happen, when who knows, how will it be accepted, who knows. But as fans we all know one thing.
James Bond will return.
They can afford a lot of things but that doesn't mean they want to pay.
Yes, potentially true.
I would also say that when it comes to "source material" within the world of James Bond specifically, we're not just talking about the novels because, in my eyes, the formula of the films themselves is ingrained enough to also considered source material.
One thing I want in Bond 26 is sneaky Bond, I love when he's infiltrating somewhere, alone, out numbered and has to use his skills and wit to get him out of the situation.
I never understood that sentiment. Bond films are some of the most expensive movies. If EON couldn’t afford Nolan then nobody could.
Absolutely. It’s something EON certainly understand. There’s always that mixture between the Fleming novels, the formula of the film series, and simply modernising things or ‘doing something new’.
Matt Reeves is a director who I’ve mentioned as well in relation to this. You're right, he took elements of the comics, mixed it with where the most recent films had gone creatively/stylistically, and put a bit of his own spin on it. I’ve never gotten the sense he was a reader of the comics prior to his work on the film, but he (Patterson too incidentally) took the time to do so and understood what they wanted. I do hope Bond gets a similar broad treatment.
To this day, I do not understand why the more recent Bond films cost so much. I just don't see the money up on the screen.
How so?
I'm sure some one can do the adjustment for inflation to accurately compare these figures. Goldfinger cost $3 Million, Die Another Day cost $142 million and NTTD cost $301 million. Visually, NTTD is very close to DAD in terms of visuals and action. I could be wrong but my gut tells me that they are spending more money than they have to.
NTTD is longer and Craig was paid well.
But the question is, what proportion of your budget would you want to put into the director alone. If you get an expensive director, but then maybe can afford two fewer location shoots and have to save on casting from the fourth actor down, instead of maybe from the ninth, is that worth it? Yes, clearing out the old actors and specifically Craig brings a load of savings, but here we come into the by now old question: What does Eon want the draw of the next film to be: The actor, the director or the brand itself? Out of those three, the director is the most likely not to return for another film. On the other hand, having the director be the draw might take the load of a younger actor's shoulders. And of course a great director makes an actor better, so that might be a good headstart..
I was just about to write a whole thing about how bringing in Nolan would also mean bringing in his frequent collaborators, but the more I read about it, the less I'm worried about Hoyte van Hoytema (Spectre notwithstanding), Nathan Crowley, Ludwig Göransson, Richard King and Lee Smith or Jennifer Lame coming in. Frankly, I'd be fine with Eon picking some of them up whether Nolan does it or not. It would probably mean Kenneth Branagh as M, though...
And if he does I insist he use his Russian accent from Tenet again. Preferably in a film where it can be heard sufficiently.
Jack Ryan: Shadow Recruit is for you.
Not seen that before. I love a good Kenneth Branagh Russian villain accent. So hammy.
Not too sure about Chris Pine in this film though having looked up a couple of clips.
Hmm...why would shooting in Italy be expensive? I wonder...
Yeah, NTTD isn't a favourite of mine but even I have to admit it looked really good throughout.