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SPECTRE Production Timeline

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  • 4EverBonded4EverBonded the Ballrooms of Mars
    edited August 2014 Posts: 12,480
    We don't want a Bond film to be much like Lethal Weopon or Die Hard ... I am just saying the public at that time was eating those kinds of films up. I think LTK presented a darker Bond and they were so not used to that, and it just didn't go down well.

    For Bond 24, I am hoping for a lighter touch, but not by a whole lot. Craig's films definitely suit him.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Dalton was squarely Gardner's Bond not Fleming's whom was actually interesting.
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    mcdonbb wrote: »
    Dalton was squarely Gardner's Bond not Fleming's whom was actually interesting.

    I'm failing to see where you're going with this.

    Back on topic: I really hope that Sam Smith is not the performer of the title song for Bond 24. I mean, have you heard "Money on my Mind"?
  • LudovicoLudovico
    Posts: 15,124
    I was about to say the LTK debate is an interesting one, but off topic.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited August 2014 Posts: 4,520
    John Logan name is back on imdb page of Bond 24 with P&W now credit as re-writers, also David Arnold returns as composer.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    edited August 2014 Posts: 12,480
    Wow - let's get better confirmation of Arnold! I'd love that. :) Thanks for this, M_Balje.

    And I just went to IMDb and it is listed as rumored. So ... no real news yet, I cannot find it mentioned anyway else on the net yet either. But I do hope so.
  • RogueAgentRogueAgent
    Posts: 12,526
    /\ IMDB are not exactly reliable my friend!
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    Yep, that's why we have to look elsewhere for real news. They still have Penelope Cruz listed, too. I was hoping it was elsewhere; but nada.
  • JWESTBROOKJWESTBROOK
    edited August 2014 Posts: 5,745
    4EverBonded wrote: »
    Yep, that's why we have to look elsewhere for real news. They still have Penelope Cruz listed, too. I was hoping it was elsewhere; but nada.

    Well he recently held his very first live concert of some of his work, and finished it with a heavy dose of Bond. Perhaps a little 'I'm back, baby!' nod?
  • echoecho 007 in New York
    edited August 2014 Posts: 6,304
    Shardlake wrote: »
    PanchitoPistoles wrote: »
    ColonelSun wrote: »
    Ironic that 25 years ago (as the new item on this site's main page reminds us) Dalton strived for the same thing but was met with little public enthusiasm. Timing is everything.

    I couldn't disagree with you more. It's not about timing, it's about the script and what the producers want. LTK could not be more different from CR and SF. Dalton may have envisioned his Bond as serious and down to earth but LTK is still like an average American action movie from the 80s. No class and very little substance.

    Couldn't agree more Dalton was a terrific Bond and if he'd got the scripts and the faith in his interpretation we might have seen something real special instead we got one film that was retrofit for him and then one that was tailored but was one of the most uneven films of the series.

    Yes Dalton was gritty and Fleming like but his films not really, for all QOS criticisms it maintained a grittiness and Fleming feel that Dalton would have loved to get his teeth into.

    Dalton fans seem to have convinced themselves his films were gritty they weren't. Craig has without doubt delivered the most grittiest entries of the series.

    I've come to the conclusion after watching Tim's 2 entries very recently that I think his Bond is brilliant but his films leave allot to be desired. They have their great moments but EON couldn't let his Fleming take be accompanied with material that suited his interpretation, instead cast offs of the Moore era are littered throughout and in LTK it makes for a jarring experience.

    I'm more of a TLD fan than a LTK fan myself. I think the settings of TLD cannot be underestimated in its success: old-world Europe almost always works in the spy genre. It's no coincidence that the Austrian scenes resonate more than the Afghanistan ones.

    Which is why, veering back on topic, I don't mind Italy as a setting: old-world Europe, again.
  • echoecho 007 in New York
    edited August 2014 Posts: 6,304
    Double post.
  • echoecho 007 in New York
    edited August 2014 Posts: 6,304
    Triple post.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    JWESTBROOK wrote: »
    4EverBonded wrote: »
    Yep, that's why we have to look elsewhere for real news. They still have Penelope Cruz listed, too. I was hoping it was elsewhere; but nada.

    Well he recently held his very first live concert of some of his work, and finished it with a heavy dose of Bond. Perhaps a little 'I'm back, baby!' nod?

    Oh, I can only hope!! :-bd
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    M_Balje wrote: »
    John Logan name is back on imdb page of Bond 24 with P&W now credit as re-writers, also David Arnold returns as composer.

    Oh my giddy aunt, yes please!!!

  • marketto007marketto007 Brazil
    edited August 2014 Posts: 3,277
    Looks like Mr. Arnold won't return.

    fhWeCxy.jpg
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    I cannot access the link ... :(
  • 4EverBonded4EverBonded the Ballrooms of Mars
    edited August 2014 Posts: 12,480
    Oh, I put it in the url bar and it worked.
    Thanks for asking him on Twitter, @marketto007. Great he replied (and graciously, of course).
    But I am bummed. :(

    @Sandy had asked him a few months ago and got the same answer ("as it is Mendes ...") but I was hoping things had changed by now.

  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    I honestly think he probably knows by now if it is Newman, as Arnold is in the business. But perhaps he doesn't. His answer reflects that he (as he has said in the past) assumes that because it is Mendes, it will be Newman.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    I really hope Newman doesn't return.
  • Seven_Point_Six_FiveSeven_Point_Six_Five Southern California
    Posts: 1,257
    I figured Newman was returning anyway but Im still bummed about this "news".
  • PanchitoPistolesPanchitoPistoles 2.0
    Posts: 4,619
    Great news! The score of Skyfall was (in my opinion) the best Bond score in ages. I wonder what JamesPages thinks of this news as he seemed very certain about Newman not returning.
  • MurdockMurdock The minus world
    edited August 2014 Posts: 16,351
    Boooo! Newman's score was subpar. If he does return, I hope Barbara and Michael force him to do it right this time. No more music from the Hans Zimmer school of genric sound.

    Bring back David Arnold, at least he tried to follow in John Barry's footsteps.
  • PanchitoPistolesPanchitoPistoles 2.0
    Posts: 4,619
    Murdock wrote: »
    No more music from the Hans Zimmer school of genric sound.

    The score of Skyfall was the least generic Bond score since 1987!
  • MurdockMurdock The minus world
    Posts: 16,351
    PanchitoPistoles wrote: »
    Murdock wrote: »
    No more music from the Hans Zimmer school of genric sound.

    The score of Skyfall was the least generic Bond score since 1987!

    No it wasn't. Licence to Kill, Tomorrow Never Dies, TWINE, Die Another Day and Casino Royale had great scores. GoldenEye is hit and miss and QoS was heavily lacking the Bond theme. Hardly generic. You don't have to like David Arnold, but you can't call him generic. He knows the Bond sound John Barry created and tried putting his spin on it. I've listened to every Bond score over and over. David Arnold went overboard with the Techno from time to time, but he's got a good body of work.
  • PanchitoPistolesPanchitoPistoles 2.0
    edited August 2014 Posts: 4,619
    Murdock wrote: »
    I've listened to every Bond score over and over.

    I don't care about how Bond scores sound on their own. What I care about is how they complement each movie. It's not an accident that Skyfall is the first Bond score to get an Oscar nomination since 1977. (And no, it did not get that nomination just for the "Newman" name.)
  • MurdockMurdock The minus world
    Posts: 16,351
    PanchitoPistoles wrote: »
    Murdock wrote: »
    I've listened to every Bond score over and over.

    I don't care about how Bond scores sound on their own. What I care about is how they complement each movie. It's not an accident that Skyfall is the first Bond score to get an Oscar nomination since 1977. (And no, it did not get that nomination just for the "Newman" name.)

    Who cares about awards? I'm not talking about awards, I'm talking about quality of music. Skyfall had some good tracks, I'm not bashing the entire score, but the majority of was bland background music that sounds like it was ripped from any by the numbers Zimmer score. Arnold's scores complimented their respective movies. He scored to the movie. Skyfall sounds the other way around. Hell it lifted music from Casino Royale. What does that tell you?
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,801
    Murdock wrote: »
    Who cares about awards? I'm not talking about awards, I'm talking about quality of music. Skyfall had some good tracks, I'm not bashing the entire score, but the majority of was bland background music
    Agreed @Murdock. Newman's score was not bad, but neither was it great. Bond films deserve better IMHO.
  • MurdockMurdock The minus world
    Posts: 16,351
    chrisisall wrote: »
    Murdock wrote: »
    Who cares about awards? I'm not talking about awards, I'm talking about quality of music. Skyfall had some good tracks, I'm not bashing the entire score, but the majority of was bland background music
    Agreed @Murdock. Newman's score was not bad, but neither was it great. Bond films deserve better IMHO.

    Agreed and Arnold knew that before taking the composer's chair, He loves the work of John Barry, John Barry was his inspiration and even Barry himself gave Arnold his blessing. Newman just took it as another job. He tired being edgy slacking of Adele's theme and the Bond theme and had to be forced by Eon to put some Bond theme in it. That's not dedication, that's laziness. Not saying Newman is bad, his score from Wall-E and his collaboration with Peter Gabriel was amazing, I was brought to tears by that score, but his Skyfall score is not some modern marvel of cinema music. Though maybe I'm being too unfair on him. He's only done one score so far. If he does return, I hope he realizes the importance of the James Bond theme and uses it more often.
  • MurdockMurdock The minus world
    edited August 2014 Posts: 16,351
    Delete.
  • AgentJamesBond007AgentJamesBond007 Vesper’s grave
    edited August 2014 Posts: 2,632
    Murdock wrote: »
    chrisisall wrote: »
    Murdock wrote: »
    Who cares about awards? I'm not talking about awards, I'm talking about quality of music. Skyfall had some good tracks, I'm not bashing the entire score, but the majority of was bland background music
    Agreed @Murdock. Newman's score was not bad, but neither was it great. Bond films deserve better IMHO.

    Agreed and Arnold knew that before taking the composer's chair, He loves the work of John Barry, John Barry was his inspiration and even Barry himself gave Arnold his blessing

    Interesting to mention but it is John Barry who suggested David Arnold to Barbara Broccoli to score 'Tomorrow Never Dies' after liking DA's Shaken and Stirred CD.

    From an interview he did
    Even though you didn’t write the music for TOMORROW NEVER DIES, David Arnold’s score certainly pays homage to you with its use of the 007 theme and FROM RUSSIA WITH LOVE. What do you think of that?
    I think David Arnold’s terrific. I was out doing demos for SWEPT FROM THE SEA when George Martin came in and told me that David wanted to meet me. He was in the next studio, doing a compilation of my Bond themes. Dave and I went out for lunch, and we’ve been close friends ever since. He told me that his father took him to a screening of YOU ONLY LIVE TWICE when he was 11 years old. And after that, Dave decided that he wanted to be a movie composer. I phoned Barbara Broccoli and told her that this was the guy to do the next Bond movie. I’m flattered by the way that he’s retained my themes. David’s smart enough to know what works, and is generous enough to use my music. I think he’s the heir apparent.
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