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Somehow NTTD does not seem to have Cary's personal touch. It seems more like a movie that was directed by all the producers and set designer. Cary wanted to direct "It" but his version was scrapped. Ironically he turned around and overtook a rejected project. Seems like he knew and agreed to work well with the producers including DC closely and do his best to flesh out their vision especially because it is Craig's swan song.
Daniel Craig was always the kind of Bond you'd welcome another movie with. Sure, his age shows but even that didn't let his performance get compromised, in fact his facial expressions have more character over the years. If that song Still Holding On was still allowed to be part of his middle to late Bond movies, it would make a lot of sense. I could even see it being played in that exercising scene in SF...instead we got the Sam Mendes treatment. It's so similarly shot and executed like his movie American Beauty with the exercise scenes there. He likes silence and plain shots showing the character with simplistic minimal music to it. Still Holding On would have taken the audience for the ride along with Bond's inner struggle journey to compliment Craig's acting.
And the best ones work closely with everyone including the musical composer.
Me too.
Yeah, I think the best ones have a strong hand in everything. I'm not saying they write the music with the composer - actually often they'll give the composers a lot of space to write the music - but they'll discuss beforehand their ideas and what they want for this element of the film.
Really did. It helped with the emotional aspect. The scene where Bond and Camille walk through the desert with the water shortage pipe dripping screams of the desperation in suffering if the human condition brought upon both main characters and the village folks although their issues are completely different.
Do you think the producers were right to reject Still Holding On, not as a Bond theme but as part of the Craig story arc in one of his movies?
Please explain.
Well it sounded similar to Casino, the lighter moments sounded familiar yet refreshed and the same with the action cues, similar if not expanded upon what was in Casino.
It might have been jarring had a different composer came aboard and tried to put their stamp on the score. Maybe it wouldn't have felt like Quantum picks up an hour after were Casino ended.
Sometimes the score can establish the world being built, almost as much as the cinematography
As do I. It gets me every time.
Yes, QoS established motifs that were timeless and able to continue if allowed....until SF happened. Arnold even created a nee twist on the 007 theme you can hear throughout the movie as Bond moves. Remember the one played at the end of the train station drop off as Bond ends up in to Kazan? That's the theme he can easily bring back without it having been deemed "aged" in any way....unlike SF, that movie hasn't aged well.
It was a journey of emotional progress. You can see that maybe Arnold contributed to Still Holding On in that there was supposed to be a more connected trilogy.
The mere fact that people are still writing about this film speaks volumes.
For me it has always been TB that took the cake, but recently I've gravitated more to QoS. It may be a short film, but its storytelling really stands out to me. I like the subtleness and grit. This is Bond as Fleming intended him to be. Indeed enhanced by NTTD. That film retrospectfully helped make QoS more clear in its intentions.
Aside from TB when I was around seven years old, SP and NTTD (less so, but it happened) were the first Bond films where I found myself getting bored and impatient at points during my first viewing. Yes, pretty bad sign.
If there hadn't been a writers strike it would be top tier Bond for me
Ok, so GF was a success and a favorite for many but it doesn't mean you have to copy its formula every other movie (in most cases each subsequent film).
The ending of FRWL and QoS both make you either miss or wanting to see more of the Bibd girls and characters. There's a sense of mysterious charm. QoS truly nailed it with a metaphorical style in hiw Bond drops off Camille at a train station next to a cemetery. Sometimes I think if this scene when watching Bond and Madeleine waiting at the Moroccan desert train station in SP. Loved how the film took it's time waiting in the station to let the audience take the scenery and cinematography inward.
Yeah it does. Some of my favourite dialogue in the series is in QOS, which amazes me given how little time they had to work on it.
If only they had an extra few months to iron out the plot
Many of us here would welcome an official extended re-edit with additional scenes to be released one day....
The reason I keep mentioning the rejected theme, Still Holding On, is that it still haunts me how much of a story arc you can hear in the song. The background instrumental with two beats playing throughout much of the song demonstrates a determination in one's heart to serve Queen and Country despite the personal obstacles and events that happened. Bond may have changed into a cold person but the professional self of 007 uses that to his advantage to move on. I think that the eeriest/hauntingly good themes are the ones that connect to the character and story.
Never heard of it.
While Madonna's song definitely has some 007 DNA chords in it, Still Holding On has the Daniel Craig kind fo stuff in it. It's got the perseverance vibe going on. Of course the song was a rough demo and it would have required edits to fit the film too as you see with most Bond songs sounding a little different on the title screen than in their album versions.
But the beginning of the song is easily fits the bill of when Bond gets shot or he just threw someone off a helicopter and looks at the Spectre ring. It's got that emotional pull to it.
Yeah, I like the song, like all of Conjure One's songs. Maybe another version of it with a touch of Bondian Orchestra would have helped more though. Maybe if David Arnold had worked with them.