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Sounds great! I’ll get excited though when I see for sure it isn’t toned down.
I have given this much thought. And no, I see no reason why I shouldn't ask for this gift from heaven right . now.
Lea Seydoux showed her breasts in the latest Wes Anderson film, The French Dispatch. This delightful film also features several other Bond alumni--Benicio Del Toro, Jeffrey Wright, Mathieu Amalric, and Christoph Waltz--but none with their knockers out.
Thank god for that.
C'mon, Dimi, you know you would've been first in line to see the likes of Waltz bare it all.
Seems not. I guess if someone has to be Emmanuelle, it's got to be Lea Seydoux.
On a side note, and maybe it's for the controversial thread, but 50 Shades of whatever is very puritan if one thinks about it ams rather unerotic.
I have, and can confirm it is indeed.
Me too. It sounds like the actresses said that when the director went too far with their love scenes.
Yeah, I remember reading that they said they felt a bit manipulated during certain sequences. Really does take the shine off what I thought was quite a beautiful film when I saw it first.
Prologue: something important gets stolen, someone important('s child) is taken, ...
Next, we see a car/helicopter driven/flown towards a remote location. Someone is clearly living a peaceful life, far away from civilisation. A man in an expensive (army) suit steps out of the car/helicopter and finds our peaceful "hermit". Then the following happens:
Hermit makes an annoyed face, pretends the man in the suit means nothing to him, continues fixing his broken wheelbarrow, says:
"I got out a long time ago, McSomething! I'm no longer with the [insert cool agency]."
Man in suit takes badass sunglasses off, says:
"We need you back, [insert cool fist name, like "Nick" and "John", or last name, like "Storm" or "Mason"]."
Former military special-everything-man-now-recluse-with-horse-and-dog says:
"Yeah, well, you shouldn't've come 'cuz there's no way I'm comin' wit'ya, McSomething!"
Man in suit throws a few pictures in front of former superspecial military guy, turns around, says:
"I'll be waiting for you in the car/helicopter, [insert cool name, see above]."
Montage of more-alpha-than-alpha-guy staring into the distance by a fire, while sentimental music plays to enhance his inner conflicts, a stern resolve taking form in his face. We know that John (or Joe or Nick or Brad) is ready to go back to that agency where people speak monosyllabically, in two-word sentences, measuring testosterone levels by the calibre of their guns. And before long, Sly, Willis, Seagal, or whoever is BACK! (like the trailer promised) can be seen armed up and ready to finally start the film.
Why? Because there's something endearing about the "reluctant hero"? No, because the script is worthless and you have, maybe, 70 minutes of content, so let's start by "tensing things up". Oh no! What if our hero, the guy whose face is all over the poster, decides early on that he doesn't want to be in this film? Good lord, I'm on the edge of my seat!
Not exactly. Scenes like these worked once in a Rambo flick, and a few times more in some other by-the-numbers actioners, but right now I've had my fill of it. It makes me sick. I don't know the hero (yet), I'm not invested in his inner peace, and I know he'll be in this movie anyway, so going through the motions of
-I don't wanna.
-You have to!
-I don't wanna.
-You have to!
Looooong meditation and contemplation.
-Okay, I'll do it.
is a waste of time and almost compels me to turn the film off instantly. Also, make the hero prove his worth. By refusing to come, and then coming along anyway, you're not feeding me a "complicated character" but, instead, you're showing lazy screenwriting and a genuine disinterest in your own setup. Why should I care? Can we please go back to characters who blow in ready to fight the bad guys without trying to pussy out first?
But what writers must bring to the table is more unique and original ways of showing the reluctance and then the acceptance to the call to adventure.
It's not exactly an easy job, and many producers have given the notes "I want 'familiar', but done differently."
And often times this mythology is dumbed down so international audiences "get" what's going on: a hero is needed, but the hero they need doesn't want to go back to his old life (because of whatever happened in the past (lost his team, lost a loved one, lost a child)), but something will motivate him to accept "The Call"....
On paper it's the best way to start a hero's journey, but the hard work needs to be in how the writer executes this so it actually feels fresh and unique (giving the producer what s/he wants: the familiar done originally)....
I hope that makes sense!
That is why I way prefer when 1)the hero wants to go into action while others (family, his commanding officers, the police/army/whatever) want him out and 2)when he accepts a simple mission that turns out more complicated than expected.
That makes a lot of sense. And I get it. I'm just tired of action flicks that announce how uncreative they are so early on but giving us the exact same opening scenes every single time.
@Ludovico
Yes! Good point!!
I haven't, but I'd like to. It seems like an interesting movie. (And I'm not being cheeky here.)
:))
"Why don't you go talk to the rest of the team? Miller, O'Malley, Martinez..."
"Miller has become a family man; he's raising two young daughters. O'Malley is now a pencil pusher working for another agency. Martinez died three years ago in Asia."
(beat)
"The situation's real bad this time. Worst it's ever been. It's got to be you, Nick."
I guess my giddy laughter at your post goes to show that I don't mind these types of scenes. Sure, by now they've been done many times, so they've got to find new ways to keep them fresh, but I like the basic premise. For me, it's similar to seeing a gunbarrel at the start of a Bond film (or wherever).
For some reason, the first film that came to mind when you wrote that was Firefox.
Maybe he got a private showing? ;)
I remember reading that in the 1970s Roger Moore was offered a lot of money to pose nude for a photoshoot in a magazine but he refused.
The quality was awful when I saw it so I wasn't 100% sure but I'm pretty confident that Brosnan bares all in Nomads.
When Roger appeared on Howard Stern (!) he claimed his gentleman's sausage was small, but I think he was being overly modest and self-deprecating, as usual.
I for one am glad he didn't do any nude work as I like to think of him as too much of a gentleman to submit to anything like that.
He's such a gentleman that it's always a shock seeing his role in the objectively horrible Boat Trip. It's interesting getting to hear him act so flamboyant and foul-mouthed, though!
Perhaps he was holding out for even more money but the plan backfired. ;)
Was it something like this?