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The better approach (given how much darn time will have passed in real life since the events of SP) is to move the timeline forward TDKR style (yes, I realize that would mean another crib from the go-to Nolan series, but still).
I know you're jesting, but honestly I wouldn't be surprised if at least one of these suggestions makes it into the film.
On a connected note:
@noSolaceleft has to understand that nothing is truly "unique" or "original" in storytelling. Mythology is born from the telling and re-telling of the same stories; that all great stories, from Shakespeare (influenced by Greek and Roman tragedy/comedy), to Star Wars, to Rocky to Bond is always influenced by what came before.
Regarding 'storytelling', yes I agree. The same applies to 'design' to an extent. The trick is not to make it seem predictable, cliched, stereotypical, trite or overly familiar. That is where the real skill lies. Very few hit the mark, even as audience expectations increase with each new offering. Moreover with streaming, blu rays and what not, today's audience is more familiar than ever with prior films because they are so readily accessible. So a film maker has to be quite adept at repackaging things in interesting and unique ways. People want to 'feel' the same way they did when they encountered an earlier film which moved them. That too takes real skill to create a theatre experience which is memorable and uniquely moving, even if the narrative is rehashed to a degree.
Initially see him doing this work fits in with the end of SP as it appears he is turning his back on his career so bluffing the audience on this maybe a nice trick. It would also give him access to some interesting characters re other retired agents.(plus the back story of DC himself retiring from the role)
Nothing to do with Blofeld, sorry for drift
Could one (or more) of them be due for a major role in Bond 25? Assuming that they weren't present at Blofeld's lair near the end of SP. Do they have unused potential or would you rather forget about them?
That's the direction Homeland has gone in. It could work, but may be a bit dull for a two hour entry with audience expectations for explosions and mayhem.
I've suggested that myself in the past, and like that idea.
So anyone who strives for originality and feels he has to give something new to justify being a writer (or whatever creative) is bound to fail anyway?
I can't tell you how glad I am that all the writers and filmmakers that enriched my childhood, youth and adulthood didn't adhere to your theories. I quite often read those arguments here in the forum ( especially when it comes to Mendes, SF and SP but all I can tell you is you giving them a free pass for simply lacking talent.)
When Jonathan Demme made The silence of the lambs he didn't sit down and said to himself "well how do I rip of Hitchcock and all the masters of the past and call it Hommages", no he realized he had a one of a kind book ( coincidentally written by someone who also strived for originality and uniqueness when he wrote his novel ) and made a movie that influences Psychothrillers to this very day and probably for the next 20 years given all the originality in Hollywood.
To me that's the spirit. Nothing else needs to apply.
As for now, you completely and absolutely miss my point. Your arrogance and lack of humility is astounding.
Actually I don't think I need a Joseph Campbel to tell me about the written word or the development of storytelling.
I have read large parts of the greek, roman and Germanic mythology, the works of Goethe, Schiller and Shakespeare ( not all of them if you should ask), Stefan Zweig, Karl May but also almost every major writer of crime and espionage stories. So I think I have quite a clear picture what one can expect to be produced by talented people. And if you call me arrogant just because I maintain if someone hasn't got the talent to produce at least some originality he should try to find him something else to live from, then so be it. Still this is what I expect from people I give my money to.
So you're not in favor of bringing him back then? Seriously though, the others didn't have much to do and hardly any time to make a fair judgement. If we are going to bring back Blofeld (which I'd rather not, but it seems very likely) then here we have a well of untapped characters to help him make his inevitable escape from prison and that were running things while he was gone etc...
Such is not the case with the last two Bond films, despite their outsize box office success. They do reek of homages, to other Bond films, the aforementioned Nolan entries, and to greats from the past. I thought that one was very well executed and the other, for various reasons, was not.
He fails to understand the concept that inspiration is not the same as being creatively bankrupt, nor is it creative theft.
And I would never defend the last two Bond films as being groundbreaking, nor a landmark of any kind. One was a competent romp; the other was a good looking mess.
Such is not the case with the last two Bond films, despite their outsize box office success. They do reek of homages, to other Bond films, the aforementioned Nolan entries, and to greats from the past. I thought that one was very well executed and the other, for various reasons, was not.
--- @pachazo, I do get where you're coming from conceptually. However, as I said, none of the characters at that SP meeting made any notable impression on me. They were as unmemorable as Gettler in CR (even though he didn't say anything). So if they were to bring one (or more) of them back some of us would notice it, but I think most of the audience probably wouldn't get the reference. I'm quite certain a lot of the general audience didn't remember White either.
So sure, they could do it, but I'd rather if they did that they keep them as supporting characters and rather focus on another new main big bad (like Bunt?).
---
@peter, I'm not as much of an avid reader as both of you are, but I'm quite certain that nearly everything that we see narratively these days in the film medium has been tried at some time in the past. So I understand where both of you are coming from. It's all a question of repackaging the elements in interesting ways that resonate. Even Nolan has cited several influences for his Bat trilogy, but he pulled it together in a unique way. Mendes on the other hand imitated (Nolan) in a more obvious way, as he did Kubrick in SP.
Clem So and Tom So have a third brother.
A) I don't think so
B) thank you
Without me trying to pull your leg, could you please tell me what the original things are?
Mommy issues? Brothers fighting for affection? Bond becoming a man in the Batcave? A "serious" spy movie lacking any kind of logic? Bond behaving like a sociopath regarding the deaths of people outside the Secret Service?
I honestly mean this. Please tell me what I'm missing!
The originality - where is it?
You of course. You're the one who mentioned the weaving in ofplenty of originality.
For such a well read young man, comprehension’s not your strong suit?
I know I’m in agreement (in parts) to what my well-read friend was saying; boggles my mind how clueless he is being on what I had said.
Sorry, I got that wrong. Actually I have only seen two of his movies outside the bond franchise.
Road to perdition managers to be dreary and boring even with the most creepy of killers and Paul " the man himself " Newman starring in his last large role and the strong parts of American Beauty rely solely on the script so I really fail to be impressed with his works.
Obviously he's coming after his mother. You must be very proud of him.