It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
I’m just saying it seems that EON has been leaning towards that type of family drama lately. A lot that started in TWINE. I personally don’t mind it. However, it has been getting old lately.
The same accusation is hurled toward MI :3, a film I really like.
It's a bit like calling Star Wars a soap opera though just because it's got someone's dad in it. For other people that's a 'saga'.
Star Wars is a soap opera.
George Lucas himself said so.
TMWTGG has a relationship between a man and his girlfriend breaking down, leading to her trying to get help from a man outside the relationship. It also shows how the relationship between business partners Scaramanga and Hai Fat comes to a head, plus it shows how his manservant comes to harbour a grudge against him too. So that's a soap opera too.
Actually Space Opera :D
That said, I think there were definitely some key ideas which the writers/producers clearly felt compelled to explore during the later Craig era. The idea of Bond getting older was one which cropped up a couple of times, as well the idea of him having a normal life beyond the service, if the films even believe this is possible. The idea of Bond having a daughter was seemingly proposed at least twice before NTTD. I think all of those ideas played into the willingness to reference Bond’s past/how it shaped this version of the character (it was done better in SF than SP in my opinion).
I think the only things from those later Craig films that stemmed directly from TWINE were the idea of Bond sustaining an injury and the very broad idea of him being deceived by a lover which crops up in CR and NTTD, but I’d argue is handled very differently and comes from the source material anyway. Perhaps the question of Bond’s relevance in the modern world in GE is mirrored in SF, but this is even broader. Otherwise while there are plot similarities what they were trying to do during the Craig and Brosnan eras in terms of character were different.
Is this movie the father of the modern Bond?
Nah, it’s from CR ‘67. Bond also dies at the end of that and has a daughter, so…
To be honest, NSNA doesn’t do much with Bond’s age/relevancy. I think it was something the older films avoided running with too much.
Actually, ironically, the closest to that would be AVTAK, Bond's relevance was subtly questioned in that regarding his knowledge of modern technology and even confronting a younger villain with a plot about technology.
And his relationship with Stacey Sutton even hinted some paternal relationship.
Even giving him an older ally in Godfrey Tibbet.
NSNA feels like it only really mentions that Bond is going back into active service as a way of explaining the title of the film!
Yeah, sort of. I mean, I think most of that comes from Moore’s obvious older age rather than specifically the script. But the use of modern technology and a younger villain are there. It’s kind of a shame they didn’t feel they could do more with those concepts. It feels like the film is trying to hide Moore’s age at times if anything.
Well It does a lot. The new M, free radicals, the videogame, and he retires at the end.
It’s there, but it’s all pretty surface level. I think most of it was more a wink to the fact this was Connery’s last Bond film. But yeah, it definitely went further than the EON films were willing to go.
Not really sure about that- Bond isn't shown to be out of touch. I think they're trying make him seem as relevant as ever, on the cutting edge even, rather than becoming irrelevant.
Part of Tibbet's presence, I would argue, is actually to try and make Roger look a bit younger/fitter by contrast. There's a hint of the paternal to him and Stacey, yes, but that's something Glen had done before in FYEO arguably.
SF runs more with both an ageing Bond (I’d argue he’s not old and it’s more that he’s midway through his 00 career, but all the ‘it’s a young man’s game’ lines are there) as well as the issue of his relevancy. I think it hits home much better as a) Bond is genuinely injured at the start and has to get back to his previous level of fitness, b) it really runs with modern technology/how even MI6 is changing, and c) Bond and Silva are much more overtly ‘mirror images’ of each other, even more so than Travelyan is in GE.
It's very meta but GE and SF are meta too.
Yes, the ramp and alley were sets built for the sequence. Reason being is that when you put a car up on two wheels the car actually becomes 1/2 times WIDER than on all four. Height of the roof and the wheels sticking out etc. The alley set was built so that it's width could be adjusted. For the POV shot approaching the alley it is in it's tight or small mode. Then the set was adjusted to it's wide setting to allow the actual mustang to pass through. I still have the blueprints.
"He knew about my SHOULDer. He knew just how to HURT me."
Not to mention the last line of the movie.
The dialogue in TWINE is a hot mess, and all involved should be ashamed.
That's very interesting, thank you- you can certainly see in the film that the alleyway gets wider, and is in fact wide enough to drive the car through normally when it does pass through it! I’d never spotted that before.
I do kind of wonder why they didn't get another driver who could do it if they were constructing the whole set for him. I would have thought that driving it with the driver in the higher position would have been even harder than at the lower position- that's how most stunt drivers seem to do it anyway.
Please. Space opera.
https://starwars.fandom.com/wiki/Space_opera
The titles of the films have been etched into pop culture. Fleming had some banger titles and they helped to sell the books and then the movies. Since 1989 the producers have had to come up with their own titles. Some are critical of the titles the producers have used. I recall the general population having a tough time with Quantum of Solace. That title got worse when the organization was known as Quantum.
In my mind the producers could deep dive back into Fleming and scuff around for titles or get creative and come up with their own.
A reminder of the original titles:
Fleming titles left would be Risico, The Hillebrand Rarity, Property of a Lady, 007 in New York.
I have to ask Mi6 community
Would you rather the next film have a Fleming based title OR the producers create their own?
The driver on the Universal shoot was different from the one in Vegas. He tried several times to put the car up on the appropriate wheels but it fell down each time he approached the alley. It seemed like he had not practiced enough to get the car up on that side. As time was running out they had him do it on the opposite wheels for a couple of takes and when he succeeded they wrapped. My guess is that the driver had practiced on the wrong side. Miscommunication was probably the culprit.