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Haha, yes – the total budget of The Snowman, was "only" $43.1 million. Far from the scale of a Bond production. The grant does however shows that the Film institute see this as a good opportunity to promote Norway in a big international production. I just hope Norway will be featured as Norway instead of India, as in Fallout (a film I've yet to watch).
It also depends on whether EON accepts the grant and move the production here. They might have wanted more funds for all we know.
In Fallout were the scenes shot in Norway set in Norway? I seem to remember those sections being set central Asia or somewhere like that.
Exactly.
As far as I remember only the end fight on the cliff was shot in Norway to doubled as Kashmir, India
What about the helicopter chase and the WHO camp? Was that Norway or New Zealand?
This couldn’t possibly be done well.
What? You didn’t know TC bit it in this one (and is resurrected in the upcoming sequel??)???
Per Henry Borch's IMDB page shows him as a location manager for most of the major film productions filmed in Norway over the last ten years. I think it's a pretty good sign Bond25 will be accepting the incentives and filming there.
Why?
:))
The only doubt I have is that maybe the project titled "B25" isn't actually Bond 25. But why would the NFI give a record sum of money to some random film that just so happens to sound like Bond 25 and is so secretive?
Morten: "Hey, Barbara! Call me!"
Think this is rather nicely done. Nice montage of Craig's 4 entries so far.
And "Daniel Craig is not Bond."
;)
This is suited for another topic but briefly,
The song is from Bond’s perspective, as such it is far to desperate, whiny, needy and submissive; the vocals only reinforce this.
Musically, it’s not bad at all.
I simply hate Smith’s voice and the way he sings the song. Not the song. I’ve heard it interpretered by others and i’ve liked it. Sam Smith is abysmal.
Pitch is probably closer to the answer. Agree, I think it's a lovely song -- but it does jump around conceptually quite a lot and I suspect that's what throws people.
TWOTW can't seem to decide whether it wants to be bombastic or, I guess, sentimental. I think it's trying to capture the best of "Skyfall" and "We Have All the Time in the World" in one song. Another modern comparable: "Another Way to Die", which seems—to me, anyways—an attempt to combine the spirits of Goldfinger and Live and Let Die in a single tune.
Whereas YKMN and Skyfall, which are (seemingly) the undisputed reigning songs of the Craig era, both have distinct identities behind them and stick to that spirit.
With TWOTW, we ended up having a constantly-shifting combination of sweeping romantic, haunting, bombastic Bond, and a sort of surprisingly vulnerable tenderness. The song arguably suffers under the weight of its own ambition. Which is a shame, because it's melodically lovely (and quite classic-Bond sounding to me), and Smith's performance is incredible. That's one talented, talented dude.
EDIT for B25 relevance: Another interesting question I have right now. What kind of song will B25 need? The film will dictate it, to an extent. But I'll be waiting with baited breath to find out if they aim for classic Bond in the SF vein or something more contemporary.
It was pointed out on another site that it is 25 percent coverage of total costs for filming, meaning Bond 25 would have committed to spending approximately 20 million USD on Filming in Norway. Does this mean PTS or at least major screen time in the plot?
It's not insignificant, but doesn't exactly scream "a ton" of the overall (presumed) budget range for the film. I'd lean toward it being a sign it's for a particular sequence, like the PTS -- but then again, you could accomplish something quite stunning with a bit of location work combined with a Pinewood set, IE, for a villain's retreat or something.
I think it's a good song, but not performed for optimum impact. I think Smith could have done it better himself (in a lower pitch) or perhaps it just suits a female vocal better.
It's undermined by the lacklustre chemistry between Craig and Seydoux on screen as well.
Having said that, the brief use of the melody after the fight on the train elevates that sequence massively.