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Comments
Agreed - they've all been rubbish since CR. Skyfall is only saved by the commentary. But its lack of 50th anniversary related extras is woeful. Although I realise they were probably saving it for the 50th box set they released that year. QoS screams for both deleted scenes and director commentary (and one with Craig and director would be the best). I'm guessing in ten years we might get a 20th anniversary of CR edition of something that may have more a restrospective feel which is where the special editions on the box set excel at.
It should come with a free 'Vesper Lynd Interrogation Tape'
http://www.thebondbulletin.com/true-colours-regrading-spectre
Christ, I'd pay double what I did for the Blu-ray of the original for that regrading. I love SP, but if one of the few negatives I have of it (the yellow filtering) were alleviated, I would enjoy it even more. I want to see the Austria scenes with the cascading snow pop in vibrant whites, but instead it looks like a million dogs each peed on every patch Bond walks on. The filtering works wonderfully in the Rome scenes because the orange, flame-like hues make it all feel so operatic and moody, but the filtering has no place in the Mexico City or Austria sections, nor when we reach Blofeld's lair. It's at those points where the tint does more bad for the visuals than good.
I know! If whoever did this version sees this, please come forward!
I've been tempted to download a file of the film in HD and edit the colors myself, but because I have zero experience when it comes to video editing and effects, I've held off on it.
You know, that sounds like a good idea! Screw experience. I often jump into programs without experience and learn as I go. Please do this!
I might try at it in the new year, but for now I think we need to get @Murdock and @jake24 on this mission, as they're more experienced with editing software and all it entails.
They'll come to the thread when they see their name mentioned in my post. If that doesn't work I'll have them buzzed to my office (designed like the digs of Bernard Lee's M, naturally).
He certainly knew that one filter wouldn't work when overlaid on the entire film. It's why there's no kind of blue or green filtering as in other parts of the film in the Shanghai casino scenes or in Scotland, as those hues would make the images odd to view.
The mistake the SP crew made was making the entire film look yellow, right down to the damn gun barrel at the start. I wish I was in the room when that decision was made to stop that madness from even being suggested.
Fun bit of trivia: the subtitles immediately identify Christoph Waltz as 'Blofeld' when we first see him in SP, instead of 'Franz Oberhauser.'
SP is a more grainy and textured looking film. I love that though – it gives the film a whiskey-tinged glow, which in turn has a sort of nostalgia and romanticism to it. In many ways it is very reminiscent of the work of Gordon Willis on the Godfather films.
Stand-out scenes for me include the Spectre boardroom scene – which makes excellent use of shadows and golden hues. I love the sweaty and smokey feel of the scenes in Morroco. Also I’m a big fan of the finale in London.
I like the rich and humid tones to the Mexico scenes – it gives the entire sequence a heady atmosphere – also the sound design during the tracking shot is marvellous. I’m surprised people aren’t more enthused by Hoyte’s work. I suppose it does mute the more garish spectacle of the DOTD, but it’s still a visually very exciting sequence.