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And he's alone.
It's MP who sees this lonely figure, all dressed in black, limping over a hill and disappearing. She knows it's Bond, but, like I said above, lets him go.
I really believe that EON (followers that they now are) saw an option for DC's return via Logan's melancholy story and ending. That film did reasonably big box office despite being a downer, and I'm quite sure this is what Babs used to lure DC back (while also having evidence for MGM that such an approach would generate reasonable ticket sales). As I've mentioned previously this is close to my worst nightmare, but I'll live with it, albeit very reluctantly.
@Shardlake, I'd take it one step further, and would actually like a Silence of the Lambs type scenario, with a rogue SPECTRE faction out there doing damage and Bond having to get intel from Blofeld in prison to track them down (Blofeld could even be the main suspect). There could be some great acting opportunities here.
I did propose something like that with SOTL vibe like you suggest, it could work as a PTS and even deal with Madeline with ESB trying to push Bond's buttons with a comment about it and Bond just throwing it off, there we are done with that element.
Using it as a PTS you can in that scene like you say that Bond is there to get intel and ESB will deliver some but it obviously being a trap but then Bond knows that and like FRWL Bond can't resist the challenge. He knows to get an in on SPECTRE (who have been all over the globe getting up to mischief even with their leader behind bars) he has to take the bait knowing he's being set up.
Obviously ESB is pulling the strings but there is no proof, it could be a real mind games type scene between the two.
Lead into the credits and Bond goes to M with the information and he's sent out to investigate, we get a mission that way but also can keep it in the tone of the DC era. You can have a traditional MP meet up before going into the office, restrict team MI6 to this segment of the film. Only having them maybe pop later on but in London and not in the field, Fiennes M staying behind his desk for the film pretty much.
You then half way mark or sooner have a big set piece not possibly involving Bond (he can be somewhere else on the globe following leads), where Ernst escapes, if he's locked up he's got to escape at some point anyway to resolve it.
Either will work, although I'd prefer a more direct follow up rather than letting 'movie' time elapse. Why? Well because I believe DC's direct timeline iteration is wreaking havoc with the Bond indefinite timeline of yore, and would rather they isolate B25 within the same timeline scenario of SP as a finale, in the interests of posterity.
They need to realise that this kind of thing can make the changing of the guard an issue, make the films to tyed together and showing time passing as it has in the DC era and you run the risk of rebooting each time the actor changes.
Make the next era start with an established Bond, you can have some connective tissue between the films but nothing like the DC era, who knows when the next actor might decide he's had enough, this way changing the actor can then pick up where the last left off.
That way you can keep the same MI6 team, Felix Leiter if he's part of the next version etc and only the actor playing Bond is different.
If Bond never left the service, i'd be happy with that too (although a side of me likes to see, and read from the novels, Bond being frustratingly bored and indulging his hedonistic personality (drinking, gambling, married mistresses); DC's the perfect actor to pull off that side of Bond, as we saw a bit of this in SF (chewing on pain killers (swapping out benzedrine for oxi??), playing drinking games (I would assume for money), and staying off the grid with a lovely mistress).
I do like that idea and like you say DC would be great for putting across a scene like but how would you deal with a PTS in that scenario?
Before Blofeld is led back to his cell, there's one more thing that Bunt tells him: the guard that's been taking care of him in prison, and is on the SPECTRE pay roll, is playing both sides and must be eliminated at once.
We see this guard come and collect Blofeld to take back to his isolated cell. And on the way, the tension builds as Blofeld confronts the man on his indiscretions. He attacks the guard, literally ripping his face away from his skull using his teeth, nails and anything else he can get his hands on. Revenge dished out, cold...
Maybe some of us should have a go at a scene at a time and piece our version of Bond 25 together for a bit of fun.
Anyway I'm off to watch Logan Lucky now but some interesting ideas out there.
It was Mendes who actually requested a love song.
The one thing I will lay at the feet of Mendes: why did he take the grit out of Dan's Bond?
Whoever is directing B25, I have a feeling we will be getting a return to this; to a man that bleeds after a vicious fight. A man that has to cover and conceal the wounds of battle. I very much welcome this return.
This is pretty great. Bond could be like retired and hes hanging around casinos and then hes pulled back in for one last mission. There could be a pts with blofeld. I dont know about bond faking his death seems a bit DKR. They should bring back Irma bunt for sure though. Would this film be like 3 hours though there seems to be a lot going on and would that be a good or bad thing?
And then, since film is a director's medium, is he moving the story forward at all times?
I'm sure you've had that experience, JBKenya, where a film is so poorly executed, its short running time feels like a slog, and then there are films so well done, that its long running time felt like a breeze...
It's all in the execution.
It starts with the script as the foundation, then it's up to the director and his team to take it home!
However, as I mentioned to you before, try and FF through all the Nine Eyes scenes-- it makes for a more enjoyable viewing.
Even as a visual, bjames, the Nine Eyes scenes seem flat compared to the rest of the film; flat and ugly, which can't be said about the other scenes.
I find I much prefer the film if I just stop it after the 'Superman' moment at Blofeld HQ as well. That record holding explosion could easily serve as an 'imperfect' finale. The whole London bit is just ridiculous and tacked on imho.
I watched SP a couple weeks ago. Tried to watch this "climax"; aborted my attempt, and; FF'd to the final scenes with Q and Bond, and Bond driving away with Maddy.
The only scenes which truly bore me are the ones regarding M, Denbigh and the rest of the scooby gang. If it were for me, I'd actually keep the M-Bond conversation right after the title sequence and would take everything else out of the movie.
I wish more time had been spent on developing Bond and Madeleine's relationship and setting up Blofeld as a proper villain, instead.
Totally agree. That was the movie that should've been along with including more with Mr White. That relationship with Blofeld and in relation, Madeline, should have been developed ignoring the brother angle for Bond altogether.
Also, Rogue Nation has a much better and exciting London finale (at a fraction the cost) and that's what they should observe and do. SP would've been so much better by ending it w/Bond returning to stop C himself and have Hinx return for a climactic fight. Have Madeline actually say goodbye for the reasons she stated, 'can't go back to that way of life,' and leave Bond conflicted but finishing the job instead of making the retirement choice. Then show Blofeld in a quick scene showing he's alive and well and plotting, avoiding another painful "brother" episode and the rest.
They probably count NSNA.
I think there is a good film inside spectre, maybe a fan edit.... but the plot is shit regardless and that cant be fixed
Bond driving away with Maddy is awful in my opinion. Don't have much of a problem with the London scenes otherwise. The 'damsel in distress' frippery is lazy, but the rest of it I just find, if you'll excuse my French, f***ing weird. Which I'll take over boring. That end scene with the DB5 just doesn't feel earned. If you compare it with CR, where they truly earn the right to let rip, it's borderline embarrassing.
I then curl into a fetal position crying tears of self-loathing for going back to this well over and over to always the same result.
That's what SP does to me... But I know I will watch it all over again one day, hoping against all hope that it has changed.
And now I weep....
All seriousness, yes @RC7, it is unearned-- I'm just a sucker for hearing the Bond theme playing as the DB5 growls awake...
But that's like much of the film: I don't think Bond earns the trust of Q risking his job, nor the trust of MP to be his "mole", also at the risk of her job (considering Bond was "grounded"); I don't think he earned Madeleine's heart, nor did he earn his "recovery" from torture. There are so many areas of what appears to be absolute laziness in the film, the worst offender of all, being it's lack of tension.
But I should add, I do enjoy going back to this film; I love so many individual scenes, with all their different tones, to the way they look and are executed. But individual scenes do not make a great film. My fondness for SP is because it is this beautiful mess. I realize it's not everyone's cup of tea, and I absolutely agree with most of its criticisms.
But beneath the faults, there's some really lovely work being done, @RC7 .