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I am not sure they are on a tight schedule at all. They have five months. I would have to research it, but that seems a lot longer than what they had in DC's previous four films. In fact, I think they were still filming CR, into July, prior to a late October release.
5 months is still tight.
Just checked: five months is what they had on SF. Less than four months on SP. A little over four months on CR and QoS. FWIW.
I think CJF could take a month off, if he wanted to, return the first of December, and they would still have plenty of time in post.
All I will say is that I work in a field where the general public scrutinizes every movement we make (or so it feels). So often people comment without knowing what's really going on or the planning done in advance to make such a thing happen. Chances are, if he is taking a vacation, it's because he can do so. It was likely reviewed and granted (probably not without scrutiny) and any immediate work has been delegated out in the meantime to trustworthy people. Pacing oneself at work is very important, and I would imagine that is especially true for creative work.
Honestly, I spent over 10 years working in the cutting rooms on some pretty big films (including LTK), the Bond schedules are bloody tight now, 4 months is a sweat and means insane hours, and 5 months isn't going to be much easier either, but it is normal for a director to grab a short vacation after a shoot to give his editor and the editing team the time they need to get a first cut together. Once that first cut is viewed, probably very soon after CF returns from his break, the entire team will be at the coal face and working their nuts off, believe me.
Writing's on the wall is not only one of the worst Bondthemes, but also one of the worst popsongs I've ever heard.
Hahaha!!!!! Brilliant!!!!!!
Then say that. Don’t say ‘how many multi million dollar films have you directed?’ like the other guy. There’s too much unnecessary aggression around here.
Well said, and thank you for your insights as always @ColonelSun. No doubt a group of unsung heroes working hard at this stage of the process. And that's just the process itself -- not to mention all (continual) creative elements and discussions still be navigated and solved.
Er? I never said that at all. U can see my posts - I have politely and directly explained what I know from my own experience. No aggression at all from my end, but your post seems rather aggressive.
I meant nothing by it. Didn’t mean to insult you or make you think I’m being aggressive.
Perhaps my initial response was based on fatigue; reading yet another non-story about to become more hand-wringing. That’s all.
You’ll get more out of someone if they’re happy in their work and feel valued as opposed to over worked and pressured 🍸
Oh @Pierce2Daniel you are amusing amongst your self satisfied smugness.
Of course I meant just the DC era, like I said before Adele's song goes like gangbusters over the main titles but a song on its own, it's no GF, YOLT, DAF, LALD or NBDIB for starters.
Songs living outside of the titles pretty much ended with VTAK.
I don't think YKMN can be held up with the true classics but Adele's song would be another case if it wasn't attached to SF.
YKMN comes out of the gate from the get go, gives CR and cracking start after that superb and stylish PTS.
It's a poor song, badly performed.
Cornell wipes the floor with Smith every day of the week and twice on Sundays.
LOL..
For the title track I'd prefer either someone new, or an iconic legend who has been around for decades.
I do like Adele's SF tune. However, the chord progression is pretty much the same as YKMN and AWTD, except in a different key.
Let's not resort to the Bond theme back rhythm chords for this tune, eh? Unless it's interwoven cleverly and briefly as per GF.
I'm guessing that Elliot Graham is there more because of his experience with action films (X2, Superman Returns, Captain Marvel) and Tom Cross is an editor that Fukunaga wanted, but he also doesn't have a ton of experience with action.
YKMN definitely the best of the Craig era. SF is decent but not as good as some make out. TWOTW is actually a decent enough song IMO. Not a classic by any means - simply not memorable enough - but it is not a bad song. You can argue over Smith's rsther overwrought rendition and whether a different artist would have been better but technically speaking it's a well written song and I'd say pretty cinematic. And had it been worked into the overall score I think it would be much more affectionately regarded. The brief snippet of it that Newman allows around the train sequence is a stand out moment in the score. Skyfall is better overall but compositionally as others have pointed out it lacks something - it always feels like it's building to something that it never reaches. But I'm nit-picking - it's obviously a really good song and works well with the film (which I'm no fan of). I actually think the film would have been improved by Newman working Adele's song in throughout - one of the reasons I don't rate him as a Bond composer at all. And to think with SP he just rehashed his SF score rather than using more of Smith's song.
Having said that I'd be perfectly happy with a return from Adele. She's ridiculously talented and would I am sure produce a good song. I think she'd struggle to match her SF success though. As others have pointed out I am sure Cary has his ideas about the song as well.