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Little would they know it'd be the only laugh in the entire film.
Didn't Ms Soto say she had a vision of her character as someone basically plotting to take over Sanchez's empire? She even asked the crew for the book she was reading at the villa to be about big business.
Well, she certainly managed to put across the idea of a dynamic young woman on the verge of running a multi billion dollar drug empire..not.
Hahaha exactly....definitely good in bed though I would think...bloody lucky 007 again !!
That was for Queen and country. Strictly business.
Of course !!
As Bond indeed says ,in TB :"You don't think it gave me any pleasure,do you ?"
In YOLT :"Aaah the things I do for England."
In AVTAK : "Sir Godfrey,on a mission,i am expected to sacrifice myself."
Maybe the production values in the Key West scenes aren't up to the series' usual standards, but that's a small price to pay for so much Flemingness, breathtaking stunt work, the best written plot in the franchise and the greatest Bond performance in history by Mr. Timmy D!
That's hilarious
Strong story and characters and Dalton is superb!
Best action since OHMSS and if I had a criticism it would be Kamens score, though I love his gun barrel intro!
Controversial only to the casual cinema go’er. To a Bond fan though....you are spot on and correct!
Quite right. Both Dalton entries are close to each other in terms of quality. In my book that's #1 and #3 of the franchise with OHMSS in between.
James Bond's Final Mission?
by Lee Goldberg (Starlog 146, September 1989)
“You can't disappoint the audience, but you can't give them what they expect,” explains Michael Wilson, co-writer (with Richard Maibaum) and producer of Licence to Kill…
Wilson concedes that he, and longtime 007 producer Albert R. Broccoli are “running scared,” attempting to maintain the formula while also “being slightly ahead of our time.” But how long can James Bond remain a cultural icon, and a money-making machine, and not become an anachronism? Wilson admits they “worry about it all the time.”
For one thing, they must keep a close eye on the international scene. In the post-Cold War thaw of Watergate, feminism, glasnost and AIDS, they must pick their villains and their stereotypes carefully.
“We have to be aware of the world situation and what people will accept as a ‘loosely-based on reality’ sort of plot,” Wilson says. The Red Threat just won't wash today, not with Gorby-mania in the headlines. “I guess people are more hopeful today than ever before and don’t want someone undermining that hope.”
…“Timothy gives us a different direction to go in,” says Wilson. “I think the films with Roger emphasized his talents. For Timothy, a gritty, more reality-based piece is the way to go. Giving him one-liners won't play to his strong suit. He plays it fairly straight.”
Dalton gives producers the chance to show a darker, more violent side to Bond who, in this film, “is thrown out of the service, and he has lost the objectivity he normally has, and that makes for a rather impassioned, exciting film.”
…“This film's thrust is that Bond loses his professional objectivity because of his vendetta,” Wilson says. “In a sense, it’s the awakening in him of the realization that when he loses his objectivity, he begins to make things worse for himself.”
Bond also lost a wife (On Her Majesty’s Secret Service) and went looking for vengeance (Diamonds are Forever), but those events aren’t touched on in this film , which obviously tackles similar themes. “There is a reference, but very indirect, to Bond being married before, and it’s sort of bittersweet,” says Wilson. “We never really saw Bond go for revenge before. It wasn’t a very developed idea in those films.”
Although grittiness doesn’t lend itself to the series’ more cartoonish elements, the producers have compensated by emphasizing the stunts, some left over from other movies. “I have stunts I haven’t even unpacked yet,” Wilson jokes. “The truck chase in this film is something John Glen has wanted to do for years.
“We find our stunts where we can. Normally, we think the stunts up in-house or go with a person we’ve worked with before. For instance, the stunt with Bond and the seaplane was done by Sparky Green, the fellow who directed our air unit in the last film. He gave me this stunt and it blended perfectly with the narrative. which was fortuitous, otherwise it would have gone on the back shelf.”
…the Writers Guild strike drove a wedge between Wilson and Richard Maibaum during the film’s writing. They worked together on the outline, which was turned in just before the strike. Wilson wrote the script alone, while Maibaum walked the picket line, although Maibaum shared script credit. “I said to Dick that we’ve worked a long time together over the years, and I didn’t feel I wanted to go through an arbitration. I told him I would be happy to share credit, and he said wonderful,” Wilson says. “He was put in a difficult spot, and I wasn’t prepared to make it more difficult.” (Wilson maintains he did not violate any WGA rules by working during the strike. The WGA, through a spokesman, had no comment).
The producers have bowed to the old Bond films by eschewing a pop band in favor of a “power ballad,” in the tradition of Shirley Bassey’s “Goldfinger” and Tom Jones’ “Thunderball” themes, by Gladys Knight. “We had gone with Duran Duran, which paid off handsomely, but a-ha was a disappointment. We thought it would be better this time to go with a power ballad, a ballad with guts in it.”
…Ever since Jack Lord played Leiter in Dr. No, the producers have been looking for someone to replace him—with no luck. “We’ve never found someone who was that solid a performer. This time, we were looking for someone whom we’ve seen as Felix, and whom the audience might have some association with. David Hedison fit the bill.”
Wilson won't say whether Q will be back next time, though “people love him so much, we would like him to stay on.” (Lois Maxwell had to be replaced as Miss Moneypenny because “it would have meant a change in the playing of the character, and we wanted to keep that relationship intact.”) It’s certain Timothy Dalton will play Bond again, but Wilson feels it’s “not appropriate to discuss his contractual situation” beyond that.
Although there are no more Ian Fleming books or stories to plunder, there are several new 007 bestsellers written by John Gardner, though “we haven’t seen anything in those books that are useful for films,” Wilson says. Nevertheless, the books are “encumbered by us. No one can option those books to anyone but us for perpetuity.”
I have also recently posted an interview with Timothy Dalton, on the set of Licence to Kill, in the LTK thread.
Immediate thoughts on LTK :
Liked
Disliked:
Bondfilm.