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Even when they were literally remaking themselves? And then Casino Royale suddenly felt like a formulaic drudge? Which one did it remind you of? That is a surprising reaction.
Which ones were remakes? I've heard people say AVTAK is a remake of Goldfinger but I never saw what people meant by that. Casino Royale was a fresh take but every Craig movie that followed was just a repeat of the same tropes after 15 years of it, it's stale.
I’m surprised you can’t spot the similarity, and then you’ve got TSWLM remaking YOLT, with dashes of TB too, they all remake DN in some way… there are so many it’s hard to mention them all. But look at the Bond parodies perhaps and think why there are elements they seize upon.
It’s fine you think it’s formulaic now ( and I don’t even massively disagree; I saw the trail for NTTD and my reaction was ‘that looks like a Craig Bond film’) but the fact that fans who want it to go back to the Brosnan style or whatever think it’s because those were formulaic and they liked that which just shows there is no consensus. Even if other fans disagree and think there is, which is perhaps the biggest irony since Alanis couldn’t find a fork.
Exactly. It’s a petty reason, and like, I don’t want them to adhere to strict formula just for the sake of it, and I very much like 3/4 of Craig’s movies (the least formulaic ones!), but I admit it’s like a little itch at the back of my brain when I start thinking about stuff like putting the gun barrels at the end of the movie lol.
This is a crazy take.
I mean I can see the YOLT/TSWLM similarities but I don't consider TSWLM a remake of YOLT. I don't really see the DN analogy you mention either to be honest. I mean yes YOLT is a favorite to spoof amongst Bond parodies but not every Bond film remade YOLT. That was more a Lewis Gilbert quirk.
You took the words out of my mouth. Thank you.
Well that’s fine, you’re welcome to disagree and I’m not here to tell you you’re wrong; it’s just another aspect which proves there’s not as much consensus as the OP of this thread would have us believe.
Heh! Now gunbarrels I will agree with! :) But I guess at least the title sequences haven’t gone anywhere.
As one poster pointed out, there's a pretty general consensus that 'DN,' 'FRWL,' 'GF,' 'TB,' 'YOLT,' 'OHMSS' and 'CR' are the Bond films that bring every version of Bond fan together. So, I suppose there is a fairly common ground for generalization in regard to my original post.
Every fan wants a good script, good soundtrack, good locations, sexiness, a good lead, and the right amount of levity.
I’d include SF, but we know how that trashes your narrative.
Also, nice try, but the poster you're referring to did not bring up DN, TB, and YOLT.
:))
Ask a Boomer what their favorite Bond film is, it's probably a Connery title. Ask a GenXer what they're favorite is, it's likely a Moore title. Millennial, it's probably a Brosnan title. Zoomers will undoubtedly pick a Craig title, as he was their Bond growing up.
The further we get away from the 60s, the lesser it's seen as the default of what Bond films should be like. I remember there was a parody video by Joe Cornish about the title song for QOS, and at one point "Sometimes I wish Roger Moore would come back". Makes sense, he's very much of that generation brought up on Moore.
As with all fandoms it would be interesting to see if there genuinely is anything that there is actually a total consensus on.
My suggestion might be: are there any Bond fans who don’t like the work of John Barry? I don’t think I’ve come across any who don’t..?
I do think if Barry was able to score the Brosnan films, we would have started seen some complaints about his method of scoring, which had become much more slow and melancholy, because that was they style he really wanted to lean more towards after his Oscar win with DANCES WITH WOLVES.
There's that very famous account of how John Barry almost scored THE INCREDIBLES. Brad Bird regarded him as a musical hero and wanted him to bring that 60s adventure sound to his film. Instead, Barry delivers a few samples of music that's slow and very melancholy. Brad Bird asks why he didn't do the 60s Bondian sound like he asked, and Barry said "I can do that in my sleep". After trying and trying to budge him to the older sound, Barry eventually quit. Thus Michael Giacchino was brought in and did a big John Barry 60s style score.
It's so funny you would bring that up considering that The Undiscovered Country is the best Trek film ;)
Yep, this is true. I also think that although everyone liking Barry is a fairly safe bet, but I imagine if you asked a load of fans who their favourite 007 composer is it might not always be Barry. And there certainly isn’t a total consensus on what the best Bond score is.
Well, the appeal of David Arnold has always eluded me. ;)
OH YOU!!!
:P
Shifting my narrative or not, you know exactly what I mean.
I know what you mean, I'm just saying you're out of touch if you suggest SF is not a popular Bond film among fans.
I do think you'll find this blogger interesting. He's been extremely critical (and salty) about Craig's run.
http://n007.thegoldeneye.com/two_views_casino_royale.html
I don't think there has been a single unmemorable cue in a Barry scored Bond. That's why so many love what he did during his time in the franchise. The melodies are identifiable, he included jazz chords that were hip and sexy, and he always knew to maintain a pop sensibility, even in a classical setting. David Arnold may be the only composer after Barry to have done his homework.
The same thing could be said about Purvis and Wade’s writing. EON (expect for Martin Campbell) has been too soft on them, while the fans have been too hard on them.
I fully agree with that. By the way, thanks for posting that blogger. Some great writing int there!: “Arm yourself because no one else here will save you.” It gives the impression that the new 007 had snapped and wanted to attack customers at the local hardware store with an Uzi. -Hahahahahahahahaha
EON fully understands Purvis & Wade's strengths and weaknesses, this is why they always bring in other writers to rewrite the scripts. None of their works have ever come out without heavy rewriting by other parties.
One of the reasons why EON needs new writing blood. New Bond, new writers! Number one change that needs to happen.
Absolutely. I imagine they kept P&W around so long because they were the most economic choice. Time for new everything, no doubt.
So by the way, I like and appreciate David Arnold very much. Happy if he returned.
Also Purvis and Wade having a hand in is okay with me. I do think new writers are an important element and helpful to move the series forward. But I don't dislike P&W.