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(Thanks to @Informe_James_Bond for the heads up).
Okay, cool, @Risico007. Yes, the way you had phrased it, young guys "being 007" rather than being considered for the role of 007, you had me confused. ;-)
I also hope they don't go too young. A 20-something feels immature for Bond. I'd prefer someone in their mid-30s myself.
Two words stand out, "optioned" and "after". This film is a long way off; a great deal of work needs to be done before actual production begins. The speculation is that it will follow the final film of the Dune trilogy. The secret project alluded to by Villeneuve would have to happen BEFORE the final Dune: this very well could be Bond 26. If it is, expect things to progress very quickly in the next several months
Music to the ears. :-bd
I hope that he is still in consideration. I wonder if these two Legendary developments are a result of talks with EON and Legendary reacting to those.
If we're saying they should get the best, most talented possible people for some roles but not others, then that's why I said they probably feel they can't win with the fans.
They might avoid him after seeing how his lack of talent developed.
I'd rather have a screenwriter than a novelist. They're different skill sets.
I agree @echo … some have been able to successfully cross over, but why take a chance. Go with experienced screenwriters (I think writing a proper script is very restrictive on novelists. A script must be in and around a certain length, and Inciting Incidents must happen at a certain point, along with plot point one, the start of Act II, mid point twists and Plot Point II, the start of Act III (which usually sees our hero at his lowest point), leading to the climax and resolution. Those are tough rules for some novelists to follow)….
It’s a skill, like anything else, and it isn’t easy. And like anything else, you need to put in the reps, and your ten thousand hours. If it was as simple as some think it is, we’d all be making our five million spec sales and getting hired to write the next Bond film, 😂.
(That’s why I have absolutely no problem with Purvis and Wade as they seem to be able to kickstart the basic outline and structure and beats, and then their scripts are always handed to other writers to continue building the layers.)…
Indeed, @peter, it's best not to underestimate the process of writing a film. The mere fact that we voice so many complaints about so many major motion pictures indicates that it's easier to get it wrong (and not know it before someone else points it out) than to get it right. Once audiences start asking questions -- why? what's this character's motivation? how did we get here? when? -- they can discover inconsistencies, expose narrative weaknesses, and spot plot holes, all of which are there despite the writers, editors, and directors doing their stinking best to avoid them. Worse, not only do you have to come up with "faultless" writing, but you are also expected to make things exciting.
I bet many of us have dreamed up half a dozen or more "great" Bond stories. And then you realise that you're technically copying something that was done before, or that the reason for x, y or z makes zero sense, or that you can't have this or that thing show up in the third act but not before, and so on. At least I've had such a humbling experience many times over. I sometimes try to compose just a single scene, but then get it absolutely right. I'm focused on making it thrilling, on showing something cool, only to remind myself that I cannot imagine moving Bond into a specific situation without making the whole thing silly. Obviously, I'm not a professional writer so my daydreaming holds little weight in this discussion, but I'm nevertheless confident that it takes talent, training, dedication, peer review, time (time, people!) and countless revisions to squeeze out the proverbial "great" script.
Not even CR is safe. The story has been dismantled on this forum by a very focused member who pointed out to me that, indeed, there's more to be questioned in that film than fans like myself are willing to admit. It's taught me that even the series's tightest, best, and cleverest scripts can turn out fundamentally flawed. So in conclusion, I wouldn't be too quick to criticise a writer's efforts, at least not with the comment that "I could do this in my sleep." No one can.
And you’re right, it takes time, lots and lots and lots of time. Unfortunately for me, my first script, Dead Mary (terrible, junkie little horror film), sold, and I thought this writing gig would be a piece of cake.
Little did I know…. 😂
https://www.pearlanddean.com/olivia-colman-still-hoping-for-james-bond-role/
:)
I’d be quite happy for Olivia Colman to take over the role of M.
I enjoyed the fun with Olivia Colman.
Equally prepared for the return of Ralph Fiennes. Sir Miles Messervy himself. Or a new actor as M. All can be good.
100% agreed @CrabKey she was a bit poorly and overwritten in that regard.
I can take Ralph Fiennes again, in particular as Sir Miles. It would show that EON wasn't playing favorites with Judi Dench, like they did with Daniel Craig. Which it did seem like at times. As for a new actress for M, Olivia Coleman would be great. Felicity Jones would be another choice for the future. For a male M, I would go with Idris Elba. Daisy Ridley would be a pick for Moneypenny, as she could be lighthearted, and look believable in action scenes.
I was confused at first because I misread it as Simon Callow, and wondered what you had against the Bafta-nominated actor.
Honestly, they're not going to put a non-actor into that role.
It’s there for sure. The issue with Mallory (in my opinion) is that he was, by temperament, much more ‘by the books’ and only seemingly did the right thing when pushed or the situation eventually presented itself (and of course Craig’s Bond was much more prone to going off grid to get the job done). I think it’d be cool if we got a dynamic between a Bond/new M where it’s the latter who pushes Bond to do stuff that’s not technically speaking above board. It could be interesting, especially if they adapt things from Fleming’s work like M sending Bond to kill someone due to a personal connection, or him asking Bind for a favour that’s not part of an official mission.
Honestly (calvin did a video on this) i can see both Fiennes and Kinnear returning for bond 26 (though Kinnnear i could see changing roles and being Q not tanner)
Honestly Fiennes never got a chance to be M when you really think about it
Skyfall it was Dench’s game
Spectre dench is still giving 007 the mission
No time to die its leiter who gives him the mission…
Sorry but this is frustrating i want to see Fiennes be M… dont get me wrong i respect him for refusing to make M a traitor in spectre but he still hasnt done anything M like
I’d like this a lot. I’ve always loved Moonraker and how Bond and M are off hours, off the books, using Bond to clear up this little cheating matter over at Blades… I’d love to see this dynamic between M and his best Double-O.
Thanks, I think it could be cool. Less the symbolic parent/child relationship and more an older and younger brother (or sibling) dynamic with the right actor. A healthy dose of the source material with just enough reinterpretation.
As i have said before i will say this again… Eon saying they don’t know where to go is ridiculous because as over 60 years will tell you when in doubt go back to fleming… the scene from moonraker could make an excellentl beginning scene after the titles to set up the main plot (although moonraker was used twice in the brosnan era so much like joker i feel the novel is a little played out and would prefer them take from a different fleming novel)
You get my point i think if we combed through fleming we could find enough to do (or redo) for the next 25 films