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Comments
Thats kind of my point. After being unable to quit the P&W habit for nearly 20 years now EON need the threat of Leon standing over them with a loaded gun as an incentive not to pick up the phone for B25.
And if I was in charge myself, for the good of the series, I would want to be shot in the face rather than hire these mugs again.
Agreed with both.
I would avoid any childhood acquaintance between Bond and the villain.
The TV series sounds good, and I think they could even begin with a series of Bond before he became a 00.
I think lower budget movies is the way to go. Keep them under 2 hours, cut down the number of action set pieces, more time for character development and some espionage.
Sayonara Mendes, P&W, Newman and, although it pains me to say it, Craig.
For Craig's replacement, I would cast somebody unknown as none of the mainstream actors that have been touted to play Bond next tickle my fancy. It worked for Craig, and so I'm hoping that lightening strikes twice.
Nice, that would be a great move.
Then also I'd look at getting these movies turned around on a 2 year cycle whilst making the most of the aging actor in the lead role. Then I'd have the same director ready to direct at least the first three movies.
Of course returning to stand alone movies would remove a lot of those problems.
That's some good thinking.
It's good thinking. It's clear thinking. Why isn't this obvious to EON?
Writers, directors and producers tire of stories, the longer you slave over a piece, the more you tinker and the more you lose focus. Most accept that, in a sense, it's never finished. This is why deadlines are crucial. You just have to have a cut off point after which it's in the public domain. The focus should be on one film at a time; everyone's energy channeled in a very specific direction. Once you gauge the reception you can retool effectively for film two.
What I feel they do need to do is act as showrunners again, where the directors are hired under the proviso that they work within the EON framework. They can't give a writer or director carte blanche.
When they recast they need to determine exactly who this Bond is, what sets him apart from the previous incarnations and how they move forward tonally. They can have an eye on the future, but this shouldn't be a specific roadmap. I would encourage a level of character development that is pre-determined but can be amended as they move forward. The film's themselves, though, should have standalone narratives.
You do know what public domain means, right?
Set a top budget of 200,000.
Retire the db5 for good.
Have more emphasis on bonds current personality and lifestyle.
Keep interaction with M and mp and q to London at hq.
Thats just for starters.
I'll be the first to admit that SP shamelessly spunked money down the bog but this seems like going a bit too far in the other direction.
Austerity Bond going to be grim viewing. Out with the bespoke Astons and in with the second hand Robin Reliants, locations of Skeggie and Cleethorpes, tribute act 'Surely Bassey?' for the title song and no more Oscar winning actors for the villain with legendary Corrie bad guy Brian Capron getting the gig.
Pretty sure Partridge states in KMKY that the budget for the Xmas special was 250k and that's 20 years ago. A sad day indeed when Tony Hayers is signing off on bigger budgets than EON!
Then long range plan for maybe Netflix or premium cable.
For B25 trim my budget expectations to make desirable for a potential partner before Bond dies under his weight.
Consider new talent that has similar genre experience.
Think outside box.
Fire EVERYBODY that has been involved in the Craig era, except the Scooby Gang (M, MP, Tanner, Q).
Yay! @bondjasonbond006 ...stop hiding. Lol
Fixed.
I apologise herewith to Daniel Kleinman. A grave oversight on my part. He is a genius.
Thanks @TheWizardOfIce
Well I was more aghast at not sacking Rory Kinnear to be honest.
Have a court order against P+W+L and Newman not to be allowed anywhere near a Bond production.
Try to get Martin Campbell. If that doesn't work, get Baird or someone of his caliber that actually knows how to direct action and actors.
Try to get David Arnold for the score. If that doesn't work, get Alexandre Desplat who certainly would be willing to do it.
1. Find a good script writer.
2. Find a good script writer.
3. Find a good script writer.
Get Christopher Nolan on board to co-write and direct Bond 25, with Craig as Bond.
Commission an action figure company to do a range of action figures from the Bond films. Detailed figures but affordable.