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Totally agree. SF is absurdly overrated around here and SP is absurdly slammed.
Don't try and "re-make" what's come before. Craig doesn't have to be Moore-Brosnan "charming"; he has his own, dry style that is plenty evident in his first two films. True laugh out loud moments.
He also has a child-like mischievousness about him in CR and QoS.
And, as a side note re: post production: Bring Arnold back. Listening to his last two soundtracks, and he knocks it out of the park.
I feel like we have a different, blander character in SF and SP. And yes, the distinctive uber dry wit is gone.
There is no other era that has been that uneven. Not even close.
Still CR QOS and SP are proof that even in such a troubled era there can be something good to be found in each film.
And with Casino Royale, who actually has saved Craig's era single-handedly, he has one of the five great classics in the series (imho: GF-OHMSS-TSWLM-GE-CR).
Arguably you could count DN and FRWL to it as they introduced Bond in the best possible way.
The rest and that includes films that were highly successful doesn't compare at all if you just look at eternal classic standard.
Whereas SPECTRE won't, QOS was troubled but then it didn't take an aspect of the series and boil it down to a childhood spat and how you excuse the lazy ret con of tying the films together is beyond me and Brosnan had a much worse era.
Also I see the same Bond in CR, QOS and SF, it's SP where he becomes different, Craig played 4 different Bonds??? What more rubbish are you going to come with next?
Agreed completely, but I could do without Arnold. I don't rate him as highly as some here, and truly want a new sound for Bond from a new composer. There are several gifted potentials out there.
This also continued with the much more masculine sounds in QoS...
And, if I'm not mistaken, the man himself, Barry, pointed EoN onto Arnold... That says a lot.
No matter how much better Arnold was in those last two though, I don't think he's remotely comparable to Barry (who was definitive, especially in terms of crafting memorable and beautiful melodies), and so five is more than enough for me, particularly when two of those were substandard imho (TWINE/DAD).
Over the past 20 years we've only had Arnold and Newman. I think viewers could be surprised by what another talented composer could bring to the table. We'll never know unless we try!
I was just saying that Barry saw something in Arnold to recommend him to EoN... And I think with almost a decade off of Bond duties, Arnold could bring something very fresh to his music....
He did the same for Conti.
I have a feeling Barry liked the way Arnold remixed the Bond songs for Shaken and Stirred
P&W know how to move the process with Eon along, as they did with B25. If they are involved, we are likely to see B26 sooner rather than later. And P&W apparently advocate for Fleming, even in bizarre ways like the DAD script. Possible spoiler:
A new writer who isn't as familiar with Broccoli and Wilson's method might not, so we could have more false starts without P&W. Look at Hodge/Boyle and how that slowed the release of B25 down.
The producers need to trust Fleming for B26, whoever the writers turn out to be.
+1
For you, not for me.
Interesting