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James Bond News • James Bond Articles • James Bond Magazine
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Thanks for sharing, @Red_Snow.
Alternate download, PDF: https://docdro.id/jgho4Td
A moth to collect all books seems pretty fast to me, @QBranch! Have you read any of them?
Haha, yes! Postwar looks to be quite the task to get through. Might be an interesting read though!
Thanks for sharing, I'm not going to lie , a lot of far too technical information there. Although the one thing that does come over is Simon Hayes has a lot of time for Dan, he says he is hugely collaborative, professional and pleasure to work with.
Goes a little against the grain of those that think he is a primadonna who always gets his own way. I doubt we'll ever hear secretly recorded audio of Dan loosing it and acting like god on the set and treating the crew like dirt.
Very interesting, and a second part to look forward to in the next issue.
Also ft in Aston Martin Magazine, Issue 46:
BACK STORIES: MEET THE CREATIVE TEAM BEHIND NO TIME TO DIE
FROM GROUND-BREAKING BLASTS TO TRAILBLAZING PROPS, WE INTERVIEW THE BEHIND-THE-SCENES CREW TASKED WITH BRINGING THE ICONIC JAMES BOND MOVIES TO LIFE
CHRIS CORBOULD OBE, Special Effects Director (below)
Chris Corbould is a record-breaker as well as an Oscar winner. The No Time To Die Special Effects Director, who returns for his 15th James Bond film, oversaw the mammoth explosion that ripped through Blofeld’s desert lair in 2015’s Spectre. Lasting for 7.5 seconds, the blast propelled Corbould into the Guinness World Records book, earning a certificate for the largest film stunt explosion ever seen on screen.
A true Bond series veteran, Corbould made his debut in 1977 with his role as a technician on The Spy Who Loved Me. In 1995, when Pierce Brosnan took the lead role in GoldenEye, Corbould worked his first 007 film as a supervisor and has been responsible for the special effects on every Bond film since.
CHARLIE HAYES, Location Manager
Locations are a fundamental component of the James Bond films, reflecting the mood and tone of the narrative, as well as transporting the audience to beautiful, fearsome or exotic parts of the globe. According to No Time To Die’s Location Manager Charlie Hayes, the director and production designer were always very specific about the locations.
“There was always a mood or a feeling that we wanted the locations to evoke, as well as being right for action and set pieces,” explains Hayes, who has worked on every Bond film since 2008’s Quantum of Solace.
No Time To Die carries Bond all over the globe, from Norway to Jamaica — although Hayes notes that one of the most thrilling locations was Matera in southern Italy, where the filmmakers shot scenes with the DB5.
“Matera is a magical place,” he explains. “It is not built for the modern world. The roads are narrow and short and it doesn’t seem like the obvious place to do a car chase. However, we use the environment and the vehicles in a way that you just don’t expect. Working there was amazing.”
MARK TILDESLEY, Production Designer
Throughout the Daniel Craig era, the Bond filmmakers have offered a number of glimpses into their characters’ personal space, whether it’s M’s beautifully furnished house or 007’s rather spartan London flat. Further insights are offered in No Time To Die, where Production Designer Mark Tildesley was charged with bringing Bond’s Jamaican retreat and Q’s London abode to the screen.
For Bond’s home in Jamaica, Tildesley — working on his first film in the series — says that he initially imagined something “super architectural”, but soon realised that the film would be better served by a bespoke wooden structure, built with local materials, which complemented not only the beauty of the landscape, but also Bond’s desire to be closer to nature.
“We built a house by the sea where Bond could easily get in his boat and do a bit of fishing,” says Tildesley. “It is a very Jamaican-styled home, with everything feeling handmade.”
For Q’s home in London, meanwhile, Tildesley says he wanted an abode that would reflect the quartermaster’s quirky personality. “We’ve given him a house not far from Waterloo station, so that he can cycle to work,” he says. “It’s a traditional Victorian cottage that is quite cosy — a bit like Q himself.”
SUTTIRAT ANNE LARLARB, Costume Designer
Managing the sartorial strategy on the world’s longest-running film franchise is a mammoth logistical challenge, a fact that is not lost on No Time To Die Costume Designer Suttirat Anne Larlarb. She cites the journey of Bond’s latest tuxedo as a case in point. She had been working with fashion designer Tom Ford on developing a fresh look for the tux and, while they would usually work with a six-month lead time, Larlarb and Ford only had six weeks to get the job done. “It came down to the wire,” says Larlarb, who is making her Bond debut. “We had it ready literally seconds before he needed to put it on in Jamaica. It was definitely an adventure.”
Larlarb, who is also an Associate Professor at Carnegie Mellon University in Pittsburgh, is responsible for the look of every character in No Time To Die, although she notes that the biggest pressure comes with dressing James Bond himself. And Bond’s tux is, arguably, his most iconic piece of clothing. “We wanted to make sure that the tux sang the praises of this new version of Daniel Craig that appears with us in this film,” she says. “So we made lots of tweaks to create something new and exciting.”
https://magazine.astonmartin.com/people/back-stories-meet-creative-team-behind-no-time-die
AN UNBREAKABLE BOND: MAREK REICHMAN ON ASTON MARTIN AND 007
https://magazine.astonmartin.com/people/unbreakable-bond-marek-reichman-aston-martin-and-007
BEN STRONG ON Q ADVANCED OPERATIONS AND NO TIME TO DIE
https://magazine.astonmartin.com/people/ben-strong-q-advanced-operations-and-no-time-die
PREMIUM BOND: CHARTING DANIEL CRAIG’S STARRING ROLE AS 007
https://magazine.astonmartin.com/people/premium-bond-charting-daniel-craigs-starring-role-007
I think it's cropped. Might have the full version in the archive.
Update: Or maybe not. Have a few other angles from the same scene
I really appreciate how technically proficient Cary sounds in this article. We all knew his skills with a camera and as a writer but he sounds like he knows a lot about sound as well. Between his vision for the sound and Zimmers score this Bond will sound good. I am especially taken by his understanding of wanting the flashback scene to look and sound older and have this done during the shoot not in post.
I am starting to hope Cary comes back to introduce a new Bond as well with a total clean slate and carte blanche.
I hear Sam Mendes is free.
I need to see this one first! :)
Let us not forget that two of the most well-liked Bond films of all time were directed by a New Zealander.
Even in Bond's 1960s heyday, the star was a Scottish man reciting dialogue written by Americans.
Lol. That's witty.
Yeah. That's it. And even if it's good, I think EON should learn from what happened when they immediately brought back Mendes for SP. I like Cary, but I'm sure even he wouldn't want another Mendes' situation by repeating himself.
What do you mean by ‘traditional’?
https://www.gq-magazin.de/entertainment/artikel/christoph-waltz-corona-diese-leute-die-sich-querdenker-nennen-denken-entlang-des-brettes-das-sie-vorm-kopf-haben
Talks about his thoughts on the rumours of the film going to streaming ('it's as stupid to see Bond on a small screen as it is to see a TV series on the big screen'), praising the hell out of Fukunaga saying he felt more at home working with him than Mendes, and that there was a small screening of the film for the cast in London which he couldn't make...
I agree with him, at least for my virgin viewing. Afterwards, I don't mind, of course. But I am prepared to wait a little longer if that means I can see the film in theatres.
Great interview! He's intelligent and expresses himself well. I'll leave this here in case anyone hasn't seen it-
Thanks for pointing that out. He always seems like a very interesting guy, albeit not all that relatable (which he seems very aware of).
As for the small screen comment, he also says there's a difference between reading a free paper in the metro and reading Dostojewski at home, which is a comparison I can't really follow, but you do you Christoph.
He also says there's more to be made from a Bond film than the 600 Million Dollars that were reportedly on the table for NTTD.
And his praise for Fukunaga is lovely to read. He says [rough translation by myself]: "Fukunaga is crazily analytical and has the technical machinery in his pinky finger. He can play it like a piano and manages the shoot with a self-evident competence." At a different point he calls him a "smart guy who has a crazy feel for drama."
He also expounds on how he doesn't necessarily always gets to do what he wants and as a professional actor he steps back and does what is asked of him, which can be read as a further comment on Mendes but isn't made explicit.
Plus, I think his comments on society and the pandemic are very smart, but I will not go into translating all that here.
de>eng:
https://translate.google.com/translate?sl=de&tl=en&u=https://www.gq-magazin.de/entertainment/artikel/christoph-waltz-corona-diese-leute-die-sich-querdenker-nennen-denken-entlang-des-brettes-das-sie-vorm-kopf-haben
Thanks for that, @Contraband! I had to chuckle when I read this:
Nostalgia - what was the last film you saw in the cinema?
"Tenet".
That was probably here in Berlin at the time of the distance rules. What was that experience?
I have no idea what the movie is about.
:D
I also think he hit the nail on the head with this:
There is also a difference between reading the newspaper on the tram, which is free, and Dostoevsky at home, right?
But the misspelling of Spectre annoys me. ;-)
Also, aren’t the marvel films “tv series on the big screen”?
Even i have seen most bond film's at home but if i ever get the opportunity to see every single bond film in theatres, i wouldn't miss that chance. Theatres are still best for me.