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I've heard about that book (it's probably been mentioned here before); I should probably put it on my list of books to get. Don't know if it would have worked out, but Felix meeting M could have been interesting – if done right.
P.S. Where I get controversial: start adapting books not by Ian Fleming. I would rather that happen with new writers than a "original" screenplay by Purvis and Wade. I would say start with Colonel Sun, but P & W have already butchered the good material with it. My list for adaptations in no particular order. For Special Services, Icebreaker, Nobody Lives Forever for John Gardner. The Union Trilogy as a whole shot for one actor, filmed if possible, back-to-back-to-back style together. Also The Man With The Red Tattoo, all by Raymond Benson. Even though they aren't liked much, Devil May Care and Solo for the ending of a James Bond, but made modern. For a reboot, I would start with Carte Blanche. It's a good place for a new cinematic Bond to start. Sorry about my rambling, I didn't expect to go this far with this post. My opinions, at this point for me any writer for James Bond is fresher than Pervis and Wade. Take a chance EON!
Cool idea.
I recommend Some Kind of Hero. It goes into detail about earlier drafts. At one point, Felix was going to have a scene with M.[/quote]
Cool idea.[/quote]
It's on my Christmas list. I take it it goes all the way up to Spectre?
Couldn't agree more, one of my favorite action sequences in the series, and yet another welcome addition to instances of Bond and a bunch of allies going against a villain and a bunch of foes at once.
I'm all for Eon adapting the continuation novels beginning with either COLONEL SUN or the Gardners. Imagine getting the title of the next film announced at the end credits!
That would be wonderful. Although some say the Garnder novels are sub standard, Eon would probably alter the stories to some degree for their films as they did with Fleming.
Why is there more Stacey Sutton than Vesper Lynd?
Which I don't think they are,i haven't read all of them but,with the exception of 'Brokenclaw' I like them all.
Strange when we all consider Dalton a harder, more callous Bond.
Connery had several good ones, Moore had a couple of decent ones. Lazenby's looked bone crunching. Brozza had a near perfect one with Sean Bean in the room with all the cogs and gears in GE. Craig has had a couple of crackers too. Just can't think of a good Dalton one.
The jail break fight is so late into TLD it doesn't exactly showcase Tim's hand to hand combat skills or give that great a first impression. I still love the scene, though.
The Barrelhaead Bar brawl is more in the style of ROAD HOUSE or a classic western. Tim has some good moments there, but there was never really a punch up scene for Tim a'la Red Grant. I don't count the Necros fight as I see it more of an aerial stunt.
Judging from the Bond 17 treatment, he would have finally had some good fights.
It's worth pointing out that this relaxed style of playing the role probably has a great deal to do with Lewis Gilbert's influence. In all three of his films, Bond is rather nonchalant-- especially in MR, but Roger Moore is better than Connery at playing the role that way.
I don't have this problem with Connery in DAF because he takes that nonchalant style and adds a touch of weariness and sarcasm laced with just a touch of cruelty (something Roger flirted with but within the context of a more overtly humorous style), aspects which he can act very well, and his performance and the film's tone and perfectly in sync.
You make an excellent point about Osato not being an imposing threat either. Connery basically towers (literally as well as figuratively) over everyone in the film, including the diminutive Pleasance. So perhaps that plays into the impression that he is bored.
Agreed on this @mattjoes
Off topic, slightly, the point you made about Gilbert/Hamilton directing their respective Bond's a certain way, made me think about how underappreciated Moore's versatility was, and still is. He was (as you stated) quite sarcastic and cruel in LALD and TMWTGG. Laid back and casual in TSWLM and MR. Straight and focused in FYEO, OP and AVTAK.
I don't think many give him enough credit for the amount of times he adapted his performance to suit the screenplay and direction.
I agree, @Roadphill. Roger Moore was quite flexible in the role, and always impeccable in his acting.
Interesting thought. Now that you mention it, I very much agree.
That tells me, when there are emotional stakes to a scene, that scene becomes elevated. Action, for the sake of action, dies in the memory very quickly...
Sounds like you're raising the kid right.
I agree that emotional stakes can definitely elevate a scene; the brutal fight between Bond and Alec in GE is an excellent example of this. However I don’t find anything in QOS particularly memorable. I must admit I don’t even remember a character named Mitchell. I’ve only managed to sit through QOS once, and that was six years ago.
Chime in anytime.
I think David Arnold's score for QoS is the very best outside of Barry's work. And;
QoS has grown on me immensely; it's worthy of a guy's night where Rambo films are paired with a Dirty Harry film; a Dirty Harry Film is paired with a Die Hard; Die Hard is paired with a Death Wish; A Death Wish to a Rocky; a Rocky to a QoS...
Yeah it’s quite a brutal boys film isn’t it. I was watching it with buddies of mine after a poker night and it’s a mans film. They loved it. It’s like a mad max bond film full of testosterone fueled rage
Six years ago?!!! I think as a lot of fans are you'll be suprised how much it improves on a repeat viewing. The more you see QoS the better it gets.
I’ve grown to like QoS more than I used to but I still find there are several examples where it uses action for action’s sake.
The opening car chase, the boat chase and the plane dogfight (which interrupts a good moment with Bond and Camille).