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The editing in QoS got unfairly picked-on when films like Batman Begins were doing it, as you mention, @CASINOROYALE
On top of that, many people did not understand that the editing in the beginning was meant to be that way to show what it was like inside of Bond's mind. He had just lost Vesper and was driving away with someone in the trunk who had a major hand in her secret operation and eventual death. That was Yusef's boss afterall.
For at least a year after QoS was released, Marc Forster toured around the world explaining the editing as being a part of the show at Q&A's in universities. Even to this day, he defends his work, that's how good it was. Rarely has editing been incorporated to tell a story in itself as a part of the art in film. Notice how carefully it was done throughout the film, such that most people who complained were not complaining about how the Tosca opera chase was edited through the kitchen, nor the final scenes of the film up to the point where Bond drops Vesper's necklace in the snow.
The necklace was a symbol of Yusef, and not of Vesper herself as she was dead while Bond was left to cope.
For audiences, it must have felt like you were there sitting with Bond waiting for Yusef, especially when you watch the movie a second time and beyond. When it gets you by surprise, watching it for the first time, it's all hitting you at once....being surprised to see the guy who honeytrapped Vesper for Quantum.....seeing what kind of information Bond got from Greene, then seeing Bond's reaction and his careful choice of words (which were likely written by Craig and/or Forster) and then how he handles the situation before meeting back with M to assure her that he and she can continue working with confidence in each other.
@Remington
Greene was more scary than Silva because the former looked like an everyday career politician/philanthropist. We don't need scars anymore....they didn't even do a good job with Silva's CGI jaw...the best way a Bond movie can be is by not trying to be a Bond movie but to strive and be a good film, period.
@SeanCraig
Hope you kept everyone here on this thread in spirit while re-watching QoS.
Given its re-watchability value, it helps to make up for the fact that we have to wait a few years between the films instead of having them cranked out for the sake of making them.
Despite the short runtime, QoS took its time during the dramatic scenes but sped up like a bullet for the action to make it tidy-up like a "bullet" as Marc Forster described it.
Same here. It's also the one that's the easiest to rewatch, it's so entertaining and the pacing is incredible, the time simply flies by.
That's especially true of the car chase. Each time I watch it, it's like watching it for the first time!
It feels like a roller coaster ride
I like everything about the movie until the Greene Planet party. From that moment the movie becomes less cohesive and isn’t able to deliver on the expectations. Everything is too much rushed and you can feel the difficulties they faced trying to find a way to close the story. There are still some good scenes and the locations are great. QoS is a really rewatchable entry but on the other hand always feels like some missed opportunity, given the efforts they pulled of. The parachute scene is atrocious btw, plus the gunbarrell in the end with the QoS title coming up is the worst in the series. But the Siena scenes, the car chase and the Tosca scenes are just beautiful and powerful. Tosca scene is like an art house experimental Bond short movie, a unique scene and one of the best of the franchise.
My judgment over QoS in slightly increased in the last 10 years and I rank it #9.
What do you think about the Yusef scene?
Would you say that it's a highlight of the entire film?
Now, perhaps in the near future, SP will get more love too, but who knows?
I wish SP had shown the Vesper interrogation video. It's still not too late for Bond 25 if Bond wants to pick up clues. Plus, neither actors who portrayed Vesper and Mr. White have aged all that much.
Only if it would have furthered the story. Otherwise it’s a waste of time. The idea is that bond is over vesper, even if we the audience arn’t
QoS had a lot of loose ends that don't feel tied up. And yes, the Vesper interrogation tape can easily be used as a way in the script to help Bond find a lead from Mr. White regarding Spectre.
Patently untrue. Back to film school you go.
The 1973 Dirty Harry film ‘Magnum Force’ had a lot of criticism for showing a pimp forcing drain cleaner down a prostitutes throat when the original writer said ‘mention it don’t show it ‘.
Everyone.....
Well, let's take the example of Bohemian Rapsody. Its editing was quite choppy yet it won an Oscar for Best Editing.
Editing in and of itself is generally used to display a film's scenes for telling a story to the audience.
Most films rely on cinematography for this. The editing in QoS began as choppy and became more steady at the film progressed. All of this was proceeding along as Bond was getting closer to finding his solace. What I was trying to say is that QoS took the idea of editing one step beyond and never got the praise it deserved.
But I really liked Camille.
Looking at how troubled the productions of both QoS and SP were, it must be the director that made the difference for the final film (and my choice is clear which one I prefer). In my opinion the main problem was that Mendes did not want to do SP at all and put all he had into SF. Forster did a great job.
Mendes would resort to taking Bond back to formula while Forster advanced the true potential and value of having Craig on board.
Oona Chaplin
Stana Katic
No Bond film has had such a trio of (underused) female talent. This is actually a compliment.
Exactly!
The amount of talent, each of which were symbolic to Bond's solace-finding mission.