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Corrected…
Exactly, it depends on what EON wants to do/whether they think he’d be the best option.
I’m not sure if the take-away from Boyle would be to get a specific kind of director, at least when we’re talking as broadly as ‘auteur’ and ‘workman-like’. I think they’d want a director who has a proven track record of at least being able to work with different writers/producers, and won’t get huffy when EON make specific requirements (ie. They don’t want a director leaving the project because they refuse to have other writers involved in the script).
It’s a similar case to SF as well, where P&W did early drafts and after Mendes signed on he brought in Logan to finish things off/hone everything. It’s the same story for NTTD as well. No one was ‘fired’.
It’s a bizarre thing fans tend to say around here, and I suspect it shows just how little all of us actually know about what goes on behind the scenes with these films. I know not everyone is a fan of P&W but if they’d been fired not once but twice due to poor work, why would EON continuously bring them back to work on the early drafts of their scripts? Why would much of their ideas end up in all of these films? As I said, if a director was brought in and demanded that these collaborators be fired, that would create a very unstable working relationship between them and EON, and they wouldn’t even have the power to do so anyway from my understanding. Honestly, I’m not sure if Campbell, Forster, Mendes or Fukanaga would be stupid enough to throw their toys out of the pram in this way. They can, however, bring in new writers that they have connections with and they can adapt the script in order to get it in the best shape for shooting. In fact I suspect that’s encouraged. So yeah, I think P&W getting ‘fired’ is very much a myth as you said.
Potentially, and it’s certainly not out of the realms of plausibility.. At the end of the day none us know who they’re considering. But I suspect they’ve taken something away from the Boyle situation.
Yeah. With Campbell, it's a familiar face. Less complications and creative differences....and above all, a smooth production.
It's been 16 years. Time to let it go...
Interviewer: "you've done such a great job rebooting the last two bonds, would you consider doing it again?"
Martin Campbell: "oh yes, I would certainly consider it because I enjoy doing bond. The two producers are great to work with, they don't interfere at all if they think you're on the right track, they just let you get on with it."
So at least as recently as 2 and a half years ago Campbell was up for returning to the series if called upon.
I second that.
Let's hope he IS called upon as well as Arnold. In these hands, Bond could be reimagined and updated knowing that the basics of Bond would be in good hands.
My thinking is that we will be very much along for the ride with bond without being inside his head, if that makes sense. I think if there is one thing they will likely change, it's to rebuild some of that mystique around the character. Craig played it very much as an open book ("I have no armour left") and I think they will keep him human, but put the audience more at an arms length.
Personally I'd still like to see the moonraker novel adapted I think that could work well in the modern day. Imagine a banger PTS, song and then opening up on Bond meeting M at Blades, that would be a great way to establish their dynamic, and a bit different than just meeting at the office. I personally like it when Bond meets the villain early and the whole film is a game of cat and mouse, something else they didn't really do much of in the Craig era.
That would be cool.
But the thing is nano bots isn't a step too far; that technology is advancing at blinding speed. What was presented in NTTD is extremely plausible.
This is going to be, or I should say could be, a problem for a future film. Technology that is a year, month, week, hours away, or perhaps already achieved, will be seen by many filmgoers as " too science fiction"; it is advancing exponentially, at a rate that many can't fathom.
On a connected note, was the threat originally a virus, altered because of obvious circumstances ? I've read that this has ben speculated.
I liked the nanobots in NTTD. In the context of the film it works and seems plausible (not that it’s overly realistic even now - if such technology to the point that MI6 had the basic components to develop this weapon it’d be a breakthrough, likely to the point the basic tech could and would be used to do stuff like cure cancer, it’d be that much of a game changer for the world). It felt menacing though and actually quite scary.
I mean, on paper nanobots feel more Brosnan era, but I can’t picture a Brosnan Bond film being as dark as NTTD, or the nanobots used in the same way. So for me it’s in line with where Bond eventually goes given time, and no Bond actor’s era is strictly defined by one particular style or tone should they be in the role long enough.
Oddly, some of it may have changed during production, which is why Safin and his Island feel so oddly disconnected from the rest of the story, and heavy lifting is done by small snippets of dialogue rather than proper exposition. (We know he is selling it as a bio weapon, he has buyers coming, yet at the same time he’s presented as a sort of Moore era ‘kill them all and start again’ villain — and was already doing poisons and bio weapons before stealing the Heracles. Maybe it was never supposed to be M’s doing. Maybe that Lab was supposed to be a Spectre operation.)
100%
The second half of the Craig era was a bloated jumbled mess, Bond 26 has to get back to the bullet-like momentum of the early films.