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And you have no idea which journalists currently working for tabloids will in the future get hired by "legitimate publications" because they do legitimate work.
Also, you automatically dismissing everything published by tabloids means that you dimisssed all the legitimate reporting Baz did for the Daily Mail.
We don't have to see into the future, we can just look at the work they're currently doing.
Why do I feel like we are moving in circles?
You've decided that no one took Baz seriously for some reason, when it's actually been acknowledged that his absence hurts the credibility of the stories.
However much desired, if done with a light touch and a degree of wit and verbal sophistication, I have to wonder if this is even possible anymore.
Who would give it to us?
Villeneuve? Nolan? Probably not ... a too heavy handed concentration on world building and visual sophistication, I'd guess.
I think the Craig years did give us a strong degree of "escapism," just leavened by a fairly mild dose of the real world around us. And that was probably necessary to stay in touch with the audience of the day.
Maybe even more so today.
However dark and ultimately incomprehensible, we just know too much. Or think we do. The news is all around us. And there is no shelter from it ...
Yet, while not a precise analogue, the Depression years in Hollywood during the 1930s gave the world Cary Grant, Irene Dunne, Kate Hepburn, the Screwball Comedy, and an ingenious host of directors and writers all trained in the art of light comedy.
And Roger Moore himself was an inheritor of just such a tradition ... one where the lightness of a human touch was still valued and had not yet been forgotten.
Why cant we get this hell i would even take queen as the main theme artist
I will never buy into the idea that the audience has gone off a certain tone of film. It just doesn't make logical sense to me, what matters is how well you pull it off. That's true for any story, no matter how serious, or silly. If people will sit through "everything everywhere all at once" and not think it's too silly, they will sit through a classic style bond film just fine. Again, you have to pitch it right, but that's true of any type of story.
As much as I like Craig as Bond, I have missed the wit, style, and charm that continue to make the Connery films the most enjoyable. As for the best: OHMSS & CR.
What is EEAAO?
I didn't decide it. There 100% was a time when no Bond fan took Baz seriously except for a couple of people including me.
Good point @mtm
To quote Bond in TND, “I never believe what I read in the newspaper anyway.”
Everything Everywhere All at Once, the alternate reality centred Michelle Yeoh film. I had to read back a few posts to work out what it was, I thought it was reference to a Bond film.
Ow, I failed to think of that one in this context. My bad. Thanks, @sandbagger1.
I am one who has often opined for a return to the feel of the original films. One of the elements I believe that has been absent from Bond films for a long is weaving music from the opening titles into the soundtrack. When has a theme ever knocked you back in your seat like the opening horns of Goldfinger or created such a sense of place as the guitar licks for the underwater sequences in Thunderball? YKMN came pretty darn close but was barely used throughout CR. After CR, has any title song been anything but a bit dreary, despite the awards? When have we seen sets designs as interesting as those of Ken Adam? There's a flavor to those early films that hasn't been recaptured. Yes, Bond must change with the times, but there's a lot in those older films that created that unique Bond feel.
It's quite hard to be as talented as multiple award-winning John Barry and Sir Ken Adam- they were all-time greats. We can't really just expect them to magic up creatives who will be remembered as long as them.
But equally if they do try and get super-talented directors or the best songwriters they can, folks accuse them of chasing Oscars instead of making pulpy adventure films like Cubby did. They can't win with the fans.
Regardless we still got Daniel Craig, Sam Mendes, Sir Roger Deakins, Thomas Newman, Hans Zimmer etc. - these are big, impressive talents in film.
Yeah, and I’m still waiting for the new 007 to sign his contract by the end of the week— which was some time in March…
Studios create fake X accounts to make glowing reviews for their productions and they plant “sources” to the rags (not official industry media), and that is what has happened here.
Don't forget when his gunbarrel sequence was shown off to the world 13 months ago :))
Thanks @mtm , and I think that must be around the time of his secret auditions? Auditions that involved no other actors, and, apparently, no readers for him to act against?
😂 😆 😂
Get him a good script a good director and sit back and watch the magic and at 40 he is the right age i am tired of the 20-30 something kids being 007 (craig lazenby and connery being the exception as they were amazing)
Who else played Bond that young? Only Connery, Lazenby and Craig started before 40.
Me too. Should be any day now....
I have seen people say they'd rather have a journeyman director rather than an auteur, usually because they feel the more-prominent director might take further out of its wheel-house than they'd like to see it go. This relates to the film series' identity, and that is what CrabKey is talking about: what make a Bond film feel like a Bond film? We see the producers struggling with just this issue all the time now, and the fan base is likewise divided.
I would like the theme song integrated with the soundtrack more often, and I would like a bit more visual flair like those big Ken Adam sets (one of the things I like about NTTD is the Adam-style bad-guy base); a return to the 007 action theme occasionally would be nice too, as would some prominent horns in the music (I don't know enough about music to be technical, but I'm sure you know what I mean). Some people will think these things are old-fashioned and merely would serve to make the new film a pastiche. It's an ongoing argument. I think you've said you feel the last film didn't feel enough like a Bond film, that Fukunaga just wasn't right for Bond (if I'm confusing you with someone else I apologise). What is essential to the Bond identity, and what can be discarded? I'm guessing Eon are having this discussion right now.
A lot of the names branded about now are in their late twenties early thirties… which is too young Cavill is the perfect age
Indeed, having the title song woven throughout the score is another one of the little bits of Bond film recieved wisdom which went unchallenged for 40 years. Also the "bond swell" part of the theme just preceding the kickoff of an action scene, once we're aware of the danger bond is about to encounter.
In regards to the autuer/journeyman discussion, I think what people mean is should bond be made by highminded artists, who want to use the film as a platform to explore a "message", or skilled craftsman who merely wish to deliver the customary tension, mystery thrills and excitement you expect from Bond. Technically speaking Edgar Wright falls into the category of an autuer, it just so happens that his sensibilities are much aligned with genre cinema conventions. Say what you like about Martin Campbell as a director, but the man has the right sensibilities for Bond, and that's what counts.
some random guy.