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I'd be very happy to see the return of Arnold (and my gut's telling me that Newman is gone as well; however, I don't know about the relationship Newman and EoN had/have? Did they become fast friends and cement a loyal union? That's why I'm going to button my lip and not wager the house on Newman not returning until a new composer is announced).
It's sad if you've completely given up on the good in the world.
Fairly certain the Reddit poster announced all of this before Baz. He even noted there was the Demange/P&W angle, and the Boyle/Hodge angle, and they'd go with one or the other. Don't think a Boyle/P&W was ever happening, but I could be wrong.
If Boyle is directing, I'd rather him get a script crafted by a longtime collaborator of his (makes it more likely it'll be standalone) than P&W making some SP continuation.
Then I've got the timing of it all mixed up. The rest of what I said still stands, as I don't think a Boyle/P&W combination was ever in the cards.
The thought occurred to me that it would be humorous (in a black humor sort of way) if, after all this fuss, Purvis & Wade were brought back to rewrite Hodge, a la the way they did with Logan for SPECTRE.
At the same time, I think it's less likely. Main difference: With SPECTRE they had done no work on the project until they were summoned back.
With Bond 25, they were called in early, did a script and, probably, will be found wanting. I say probably because if Craig really is pushing for Boyle (and his idea), that will be the proverbial thumb on the scale that swings the decision in favor of Boyle-Hodge.
That's not to say Hodge may be rewritten by someone else down the line. But after all this, I think it'd be really hard for it to be Purvis & Wade. Anyway, we'll see.
I think if the Boyle/Hodge thing is greenlit, it's less likely that B25 sets up the new era—providing that it lends a certain credence to them sweeping in at the last moment. DAF and the first pair of Moores at least had the same director and writer. I can't see Boyle/Hodge staying on. I think it's more likely (but still not necessarily likely) that the P&W draft functioned as a 'set-up' in this way.
Now there's a thought: what we've got it backwards, and the Boyle/Hodge idea isn't a standalone and can only be carried through now with DC's Bond, hence the squeeze? Meanwhile, the P&W script can be put on hold and perhaps used at a later date with a new Bond?
As I mentioned a few pages back I have become distinctly tired of P&W and notice a common thread running throughout their films. A certain familiarity which has become a bit boring, particularly when revisiting their films on a back to back viewing. It's to be expected with any writing team I suppose, and was arguably there in the classic era as well. So just as GE seemed fresh and new while still harkening back to the past due to new writers, I expect something similar of B25 with Hodge. I just imagine he will bring his own spin to what he understands as 'Bond essence'.
You could be onto something about the stillborn P&W draft serving as a future script base. However, from what I remember reading and learning from members here, that script was written as an end to the Craig Bond, so I'm not sure how well it will work for a new man.
Call it a sixth sense, but I think there is another shoe left to drop. Not sure what, when or where, but something isn't adding up for me. I await an official announcement in the next few months with keen interest, so I can put these thoughts to rest either way.
Mark my words. We haven't heard the last of them.
I think it’s going to be a script written by them and polished by Hodges
Why is everybody so concerned with a potential continuation? They built a much stronger basis in CR and QOS, only to completely ignore it in SF and then rape it in SP, so it would be the most natural thing in the world for Bond25 to ignore what came before, especially the bad stuff.
The earlier situation was about Bond searching for answers to Vesper's betrayal, which led him to Quantum. The organization was already introduced in CR anyway, courtesy of White. It was a 'Vesper story arc'. Furthermore, the film came out a mere 2 years later and then we had the long break.
In the last film in contrast they went so far as to tie absolutely everything in the Craig era to date together under the guise of an 'all knowing' chief bad with whom Bond had a family history. That's 10+ years and 4 films of history. So it became more 'The Bond arc'.
When I watch CR these days, it's difficult not to think of Waltz or even Seydoux. Believe me such thoughts aren't welcome and soil the viewing experience. The same goes for viewing SF, although the connection is more tenuous there, thanks to Silva's revenge motive being so well captured by a highly charismatic Bardem.
It's a question of narrative credibility for this iteration and era. That's why I'm personally very curious to see what they come up with. I think they will at least have to acknowledge the events of SP somewhere. Just ignoring it and making a 'stub entry' isn't going to help with future viewings of the set. There has to be some consequence. Some pathos. I can't see Craig going out without that.
I call this speculation but she is quite beautiful but I haven't anything with her so would she make a great final bond girl for craig? My money's still on scarlett johansson.
She would make a fantastic Bond girl in general though. Perhaps for B26.
Agree I still want johansson despite her being in high demand right now but I would also love to see Salma Hayak.
I don't love Nolan--his films are too ponderous and self-serious for me, every single one--but if we must have him as a director for a Bond trilogy, give us the new OHMSS/YOLT/TMWTGG, d*mn it!
https://drive.google.com/file/d/1C4e83ybarFhHZjDtkLmBROto1voHnuiC/view?usp=drivesdk
My two top choices for the next bond women.
I mean, "concern" (if you want to even call it that) is viable for those of us who weren't impressed by SP and don't want to see that continued. No harm in that.
Salma Hayek is beautiful and looks younger than her 51 years. I'm just suspect of her talent.
A Kate Beckinsale type (beautiful, physical and can act).
Blofeld in drag, with lipstick, eyeshade and a wig doesn t distract from the faceless Blofeld in FRWL/TB, does it? Even though it is supposed to be him.
"That's a bingo!"
I just cannot figure out why she's promoted or hinted at for so many movies: every single thing I've caught her in, she was terrible. It's the same thing as people still casting Rihanna in movies. I'll never understand it.
@bondjames
Just to add to what everyone else has said, but from Boyle's own history. He shot STEVE JOBS from mid-January to mid-April 2015, and had it edited and ready to go to Telluride on September 5th that year (less than 8 months from start of filming). Similarly, 127 HOURS started filming in March of 2010, and premiered at TIFF in September of that year (6 months). So he obviously is a pretty efficient filmmaker.
And I suspect, as you and others do, that the Curtis film is probably small scale, as well. I get the feeling it's more a compact story that uses music, rather than a large Hollywood-style musical.