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He played one of Goldfingers men in GF
And has appeared in or been heard in every Bond film since TSWLM.
His scenes in Skyfall were mostly deleted, though as @chamutakram says, he can be seen behind Tanner when he opens the door, as M is viewing the caskets at the Chapel of rest.
I on the other hand do have a problem with this.
The guy is standing a good 10/15 feet from the cell and at that level of security is presumably pretty close to SAS levels of hardness.
Although its not impossible for Silva to get the jump on him over this distance before he draws his weapon it's more fuel to the fire that Silvas whole 'he planned everything in the minutest detail' relies on outrageous slices of fortune.
If that guy is on his toes he simply draws his gun and its game over for Silva.
Either show the body right next to the door implying Silva has tempted him over or show a small scene of Silva snapping his neck or whatever which would also show us what a badass he is.
I would reference the scene in Die Hard 2 when the General strangles his guard on the plabne as an example of how to do this properly. We don't exactly see how he does it but it doesn't stretch credibility as we've already seen him ask the guy for a light before to get him in close and presume he's done the same again.
MGWs first cameo was as Oddjob in a long shot as he drives the truck with th compacted Mr Solo in the back.
Plausible deniability. It was better to hire a contract killer and have him snipe the collector rather than doing the job themselves. That way, if the chinese police was involved, they could claim that they didn't know who did the shot. If the murder had taken place in the room, it wouldn't have taken long for the police to put 2 and 2 together and be on their trail. Here, instead of being suspects, they were witnesses, at the wrong place at the wrong time, with the evidence to back them up.
And I agree with @TheWizardOfIce about the ease in which Silva escaped when there were heavily armed guards around him. Silva must have learned a trick or two from David Copperfield to pull that one off.
Couple of things-
1. Harris' Moneypenny did refuse Bond's advances, and rightly so. That should never happen.
2. When I heard they had retired Samantha Bond's version of Moneypenny, I was only disappointed that confetti and balloons weren't raining down from the ceiling. That isn't a knock on Bond herself. She has excellent chemistry with Brosnan, but her dialogue was poorly written smut out of a bad porn film, and the virtual masturbation speaks for itself. In every conversation, there's a tangible feeling of this Moneypenny trying to out flirt and one up Bond. This is a bit part and one of Barb's feminist ideas gone horribly wrong. The flirtations and Moneypenny's dialogue in SF were much classier and much more character appropriate in the manner our dear late Lois would have appreciated and respected.
Well done to EON for realizing and rectifying their mistakes of 1995-2002! =D>
Not that I know of, unless it was mentioned and I missed it. AFAIK, it was a perfectly legitimate deal. And anyway, even so, all they could be charged with would be fencing. Hardly a crime punishable by death. My point still stands.
That would be a good point except that someone, I think it was Silva, tripped without a flashlight and the same fire burning. It illustrates that the moors here were obviously uneven terrain full of ruts and holes, and Kinkaid was using the flashlight on the ground to spot them so that they didn't trip and fall. It's perfectly sensible, you're just looking at it the wrong way :)
I hate to keep picking at this but my response to your point would be: Why then couldn't they just hide in one of the holes or uneven bits of terrain? Surely they could even crawl or walk slowly as they'd be able to see at least a few yards in front of themselves, even if it was dark. Using a flash light and escaping to the most obvious place in the area is just a strange move. I suppose they were counting on Bond handling everything anyway.
Believe me I enjoyed the scene to the full amount. I thought that the climax made the film so much better and it was already a great film. I'm just having fun picking at stuff for the sake of discussion :)
I also got the idea that Bond navigated the terrain so well because he had been raised on that land. Somewhat of a home-field advantage for SIS.
I think it's ambiguous as to whether Bond and Eve slept together.
Samantha Bond's Moneypenny does indeed one-up Bond on several occasions (I'm fond of "You'll just have to decide how much pumping is needed"), but how can you attribute that to BB instead of anyone else (MGW, the screenwriters, etc.)?
Hm. That's either very Bondian or not plausible. I'm honestly not sure.
I never got the idea that they slept together, personally.
The former. I believe I read a few days ago that they originally had a line that made it much more obvious that Bond and MP did not sleep together, but it was scrapped. Shame that the scene made such controversy, but Mendes and Bond are big enough fans to not cock something up such as that.
Agree with the above.
Re. The painting, I keep seeing comments about this guy being connected to 'M'. Now, either there is some very general racial stereotyping, because someone saw an oriental looking chap in a photo or, these assertations are correct which makes it even worse.
If he was indeed linked to 'M' this really should have been made completely clear, which leads me to believe he wasn't because I really can't believe that Mendes would be so sloppy about it.
My main issue with it is the fact that Silva's is voraciously pursuing 'M' but has the time to sanction a random hit on a seemingly random bloke unconnected to the plot while forking out 4m euro for the privilege.
I also detect some odd editing in SF that has possibly cut vital scenes that would have made the narrative flow less dislocated. However, given it's length and the considerable amount of time given over to generic and not very exciting action and explosions, I think Mendes could have afforded a bit more exposition at key moments. A film with a clever, twisting plot that makes you think is all very well, but a film that requires you to make up entire chunks of narrative in order to provide any narrative sense whatsoever is a different matter entirely.
The story telling in SF is pretty attrocious and closer to the frenetic Hollywood action-driven vehicles of recent years than classic Bond. There seems to be a sense that as long as you throw in enough explosions and keep things moving along fast enough no one will notice the plot too much.
I have heard a lot about how this film supposedly incorporates a lot of Flemingesque elements, but if we're brutally honest the plot is essentially a mash up of GE and TWINE, and with source material like that, it was never going to bode well on the quality front.
When Bond and Severine go to the island and Severine returns battered, what has happened to her? Did she get beaten/raped or what? Nothing is really alluded to, but since she is a sex slave that could very well be? Silva didn't seem angry that James was onto him and what he was doing and he was in full control because of his gun totting men, so why punish Severine?
This is really the one that stands out for you? It's pretty much exactly as you say, it's to be assumed she was beaten, possibly raped but it doesn't really matter to the story what happened. Re. Bond, it was always Silva's intention that Bond would make his way to the island IMO. She uses the line 'more than you know' when Bond questions 'Does he always get what he wants?' To me this says she was always going to deliver Bond to him. She even says 'Sorry'. He's been well informed beforehand and probably knew Bond was on to Patrice. I mean if he can hack MI6 for Bond's records I'm sure he can see that he is on a flight to Shanghai. Then again, there are quite a few things that certainly don't add up or are never clarified.
It's not part of the story. It happens off screen, you can see she's been beaten. Why does it matter if she was raped? I think there are far more pressing issues that weren't resolved or made no sense, such as the never-ending 'who's the guy Patrice shot?' or 'how did Silva walk out of MI6 past armed guards?'.
It happened in the story, we see her beaten, so how isn't that a part of the film? If it happened in the film and we see evidence of her victimization, how isn't it a part of the film? Good god am I wasting my post here...
So if Bond disappears out of the room for a moment and reappears moments laters wiping his hands, do we need a shot of him taking a dump or can we just assume this by applying some logic? I don't understand why we need to know what happened in the intervening time with Severine it's clear she was beaten, probably for sleeping with Bond and the fact her boss is a psychopath.
Blame P+W or Mendes. SF has plenty of unresolved issues but I didn't write or direct it.