No Time To Die: Production Diary

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  • Mendes4LyfeMendes4Lyfe The long road ahead
    Posts: 8,399
    The word on the street a couple of months ago was that Boyle and Arnold had chatted on the phone about Bond 25.
    Is Danny Boyle the most busy man working in film?

    He's just agreed to film the Armistice centenary in November. I think come November 2019, he'll deserve a day off.
    https://www.thetimes.co.uk/edition/news/britain-calls-up-danny-boyle-and-peter-jackson-for-armistice-centenary-hgks90zwj

    Also, is the lack of Bond 25 news/rumours worrying anyone? Could Boyle's busy schedule mean that filming has been pushed back?

    I was just thinking this recently. SP had more info by this time, If we don't hear news soon there could be cause for concern.
  • peterpeter Toronto
    Posts: 9,509
    Is Danny Boyle the most busy man working in film?

    He's just agreed to film the Armistice centenary in November. I think come November 2019, he'll deserve a day off.
    https://www.thetimes.co.uk/edition/news/britain-calls-up-danny-boyle-and-peter-jackson-for-armistice-centenary-hgks90zwj

    Also, is the lack of Bond 25 news/rumours worrying anyone? Could Boyle's busy schedule mean that filming has been pushed back?

    No.
  • DonnyDB5DonnyDB5 Buffalo, New York
    Posts: 1,755
    I certainly hope there’s no delay. The possibility has me concerned.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    We already have a delay.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    I think we already have schedules. We’re not falling behind them as far as I’m concerned. It’s just the wait that’s making us impatient. The proper news I believe we’ll get by November, not before. Rumours, on the other hand, will come and go.
  • Mendes4LyfeMendes4Lyfe The long road ahead
    Posts: 8,399
    I hope not, as the Autumn winter slot has become a Bond tradition. Boyle should not keep taking on more projects when he has a film like Bond on the horizon.
  • talos7talos7 New Orleans
    edited August 2018 Posts: 8,216
    Speculation of a delay is factually baseless and the product of a writer needing a story.
    All signs point to full steam ahead.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    bondjames wrote: »

    Are the public really clamouring for a David Arnold return? If not, then why would EON consider him at this point? There does not appear to be any marketing or industry buzz benefit.

    If it were up to the public, I can say with near certainty that Hans Zimmer would be scoring the film. He's the most recognisable name to most people, even with Michael Giacchino being more popular than ever. There are barely any composers who are recognisable to casual movie-goers so I'm not sure why it should be taken into consideration - I don't really think the public really care about the music or who composes it once the obvious expectations are met. Nobody I knew in my day to day really cared that Newman was scoring Bond til he got his Oscar nomination for SF - most of the buzz went towards Adele.

    If Eon are thinking that way, I would hope that they'd change that way of thinking and just pick the person best suited for the gig.
  • Posts: 1,917
    I've said before and will continue to say Bond needs to stay in the fall timeframe it has succeeded in since GE. It was wise for Eon to move there. Summer is such a battleground with the emphasis on what's new this weekend.

    Bond has a pretty wide open time in fall and can still stay and succeed even when the really big event pics, be it Harry Potter or Star Wars, comes out. It's always a good alternative when those have sold out.

    And I'm not worried about B25 going up against Wonder Woman 2. Different types of pics and enough to see both if one is so inclined.
  • Posts: 15,124
    @bondjames There is one reason I can think of for hiring Arnold again: have someone associated with the franchise while we have a newcomer as a director (as far as Bond is concerned).
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    To me, David Arnold is the Barry of our time and all those times I watch for your eyes only and the spy who loved me, wish Barry would have scored them. We’ve already lost Arnold for two films, I would like it if someone who understood bond could come back to the franchise. Some of those tracks in CR sound very Barry with the big horns and all, it’s not by accident, it’s because Arnold knows Bond.
  • Posts: 16,167
    I'm off the threads for a few hours and already we're talking about B25 being delayed yet again?
    talos7 wrote: »
    Speculation of a delay is factually baseless and the product of a writer needing a story.
    All signs point to full steam ahead.

    Good.

    As for Arnold I suppose it would be his Bond resume that would bring him back. He was only replaced in the last two, as far as I know, because Eon gave Mendes pretty much whatever he wanted. I'd prefer Arnold over anyone else these days. Be interesting to see what he would come up with after an 11 year break.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    ToTheRight wrote: »
    I'm off the threads for a few hours and already we're talking about B25 being delayed yet again?

    Yeah, ridicolous. Has a Bond movie ever been delayed this far into pre-production? 3 mere months before the press release?
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    While I'd like to see what Pemberton would do I'm happy with him or Arnold.

    Though never Arnold's biggest fan I found his QOS score his best yet and some of the cues are terrific especially Time to get out but overall the score is one of the strongest elements of the film.

    I think and I've said it before that Arnold will come back with something to prove, he's been away for 2 films and also one of those garnered an Oscar nomination for the score.

    Arnold does know Bond so if he was announced I'd feel safe we were at least getting a Bondian sound. That being said I think Pemberton would approach the job injecting that sound we want once again in a Bond film that has been absent in the previous 2.
  • edited August 2018 Posts: 16,167
    Walecs wrote: »
    ToTheRight wrote: »
    I'm off the threads for a few hours and already we're talking about B25 being delayed yet again?

    Yeah, ridicolous. Has a Bond movie ever been delayed this far into pre-production? 3 mere months before the press release?

    GE was delayed late in the game due to script re-writes. I believe the rewrites were to avoid similarities to TRUE LIES which had just been released. GE was initially set for a summer 1995 release, then pushed back to autumn. I always felt had GE not been delayed the Bonds would have continued to open in the summer.
  • bondjamesbondjames You were expecting someone else?
    edited August 2018 Posts: 23,883
    bondjames wrote: »

    Are the public really clamouring for a David Arnold return? If not, then why would EON consider him at this point? There does not appear to be any marketing or industry buzz benefit.

    If it were up to the public, I can say with near certainty that Hans Zimmer would be scoring the film. He's the most recognisable name to most people, even with Michael Giacchino being more popular than ever. There are barely any composers who are recognisable to casual movie-goers so I'm not sure why it should be taken into consideration - I don't really think the public really care about the music or who composes it once the obvious expectations are met. Nobody I knew in my day to day really cared that Newman was scoring Bond til he got his Oscar nomination for SF - most of the buzz went towards Adele.

    If Eon are thinking that way, I would hope that they'd change that way of thinking and just pick the person best suited for the gig.
    I get your point and agree on composers not being that famous outside of a few like Zimmer (I actually went to see him live in concert last year and had a great time. The stadium was packed) or Djawadi (who also packs them in for his GoT concerts).

    EON certainly are thinking that way when it comes to the title song, as evidenced by that misbegotten suicide inducing tripe we were shovelled last time. Given Newman has recently (rightly or wrongly) received recognition for his SF effort, I can see them trying to go for a more recently known (or critically famed) name for composer. Pemberton is gaining traction and has composed quite a few films lately, so he seems like a more contemporary pick at this time.
    Ludovico wrote: »
    @bondjames There is one reason I can think of for hiring Arnold again: have someone associated with the franchise while we have a newcomer as a director (as far as Bond is concerned).
    Yes, that's certainly possible. As I said earlier, this film is likely to have the usual compressed post-production and editing timeline which puts added pressure on a composer. So Arnold may have an easier time of it in comparison to a franchise newbie.
  • Reminder: Variety's Justin Kroll said Aug. 10 that Eon was talking to actors for lead villains and other key roles.




    Back on May 25, the official announcement about Boyle, Hodge, etc. said production would begin Dec. 3. While a delay is possible, it would be embarrassing if you delayed after announcing a production date.
  • MaxCasinoMaxCasino United States
    Posts: 4,636
    Fingers crossed for some casting news soon! Remember, Dave Bautista was confirmed by September, here's hoping for a similar schedule.
  • Goldeneye0094Goldeneye0094 Conyers, GA
    Posts: 464
    When exactly were location rumors started for SPECTRE?
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    I personally wouldn't use SP as a benchmark for when we should get info. Most of the news for that film was down to damage control given the very public, disastrous situation with the Logan/script issues and P&W being brought in to "save" the script and to ultimately spin the perception that everything was ok.

    I'm sure Bond 25 is well on track to start as planned but I'm not expecting news to be released that aligns the same way it was for SP.
  • TripAcesTripAces Universal Exports
    edited August 2018 Posts: 4,585
    For me I can’t wait for a david Arnold confirmation. Well if he gets confirmed. If he doesn’t get the job it would be a blow
    Two words: Daniel Pemberton.

    Yep. And two more: Arctic Monkeys.
  • Posts: 17,756
    TripAces wrote: »
    For me I can’t wait for a david Arnold confirmation. Well if he gets confirmed. If he doesn’t get the job it would be a blow
    Two words: Daniel Pemberton.

    Yep. And two more: Arctic Monkeys.

    …And two more: Yes, please! :-D
  • RoadphillRoadphill United Kingdom
    Posts: 984
    @PanchitoPistoles Pemberton seems like a good composer, but he hasn't done anything that screams Bond, to me. Michael Giachinno(I hope I have spelt that correctly) did a fine job of a send up of Bond themes in the Incredibles. There is a track called Kronos Unveiled from that film. I urge you all to boot up YouTube and listen to it. It could easily pass for a late 60's Barry track.

    Edit: Here is the link
  • Posts: 1,548
    Did Hinks have metallic fingernails? Never knew that.
  • edited August 2018 Posts: 11,425
    LeChiffre wrote: »
    Did Hinks have metallic fingernails? Never knew that.

    I think you catch a glimpse of them at one point but not much is made of it apart from him gouging the eyes of the Spectre assassin.
    Roadphill wrote: »
    @PanchitoPistoles Pemberton seems like a good composer, but he hasn't done anything that screams Bond, to me. Michael Giachinno(I hope I have spelt that correctly) did a fine job of a send up of Bond themes in the Incredibles. There is a track called Kronos Unveiled from that film. I urge you all to boot up YouTube and listen to it. It could easily pass for a late 60's Barry track.

    Edit: Here is the link

    It's fine but does sound like Barry pastiche, which is sort of what Arnold does any way.

    I'm a firm believer that while the Barry sound needs to be respected, it would be nice to think there are great composers out there who could give us something new that isn't just a tired rehashing of what came before.

    I think Arnold began to achieve something interesting with CR and QoS. Newman was a total disappointment for me on all fronts - but I suspected this would be the case from what I knew of most of his other Mendes scores.

    This guy who scored the Incredibles seems talented and would probably rise to the occasion but please don't just ape Barry.
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 233
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    Great recommendation. Pemberton can do classy stuff, but The Game was the first instance where I felt he could be a good Bond composer.

    A lot of people cite The Man From U.N.C.L.E. as an example of why he would do a good job and I'm not sure why. It's a good score and I listen to it often but it was a bit too far into the parody realm for my liking to be an example of Bondian music. The Game was straight up classy.
  • Posts: 17,756
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    The Game score is terrific – as is the series itself too. If you're a le Carré fan, this is the series for you. Need to rewatch it again soon.
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    Great recommendation. Pemberton can do classy stuff, but The Game was the first instance where I felt he could be a good Bond composer.

    A lot of people cite The Man From U.N.C.L.E. as an example of why he would do a good job and I'm not sure why. It's a good score and I listen to it often but it was a bit too far into the parody realm for my liking to be an example of Bondian music. The Game was straight up classy.

    The UNCLE score isn't really that Bondian, IMO - more a homage to the continental Eurospy films, Morricone – with a hint of The Ipcress File(?).

    If you have Spotify, you can check out his UNCLE: Mood Board playlist. I think that gives an insight to what inspirations he had making the score.
  • Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    The Game score is terrific – as is the series itself too. If you're a le Carré fan, this is the series for you. Need to rewatch it again soon.
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    Great recommendation. Pemberton can do classy stuff, but The Game was the first instance where I felt he could be a good Bond composer.

    A lot of people cite The Man From U.N.C.L.E. as an example of why he would do a good job and I'm not sure why. It's a good score and I listen to it often but it was a bit too far into the parody realm for my liking to be an example of Bondian music. The Game was straight up classy.

    The UNCLE score isn't really that Bondian, IMO - more a homage to the continental Eurospy films, Morricone – with a hint of The Ipcress File(?).

    If you have Spotify, you can check out his UNCLE: Mood Board playlist. I think that gives an insight to what inspirations he had making the score.

    Guy Ritchie specifically didn't want Pemberton to do a Bond sound. Interview from 2015:

    https://hmssweblog.wordpress.com/2015/08/03/daniel-pemberton-u-n-c-l-e-score-avoids-007-sound/
  • talos7talos7 New Orleans
    edited August 2018 Posts: 8,216
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    The Game score is terrific – as is the series itself too. If you're a le Carré fan, this is the series for you. Need to rewatch it again soon.
    Satorious wrote: »
    Re: Pemberton, you need to check out the score to The Game. Very cold war/Ipcress/Barryesque. I'm sure he would rise to the occasion, plus he's already worked with Boyle.

    Great recommendation. Pemberton can do classy stuff, but The Game was the first instance where I felt he could be a good Bond composer.

    A lot of people cite The Man From U.N.C.L.E. as an example of why he would do a good job and I'm not sure why. It's a good score and I listen to it often but it was a bit too far into the parody realm for my liking to be an example of Bondian music. The Game was straight up classy.

    The UNCLE score isn't really that Bondian, IMO - more a homage to the continental Eurospy films, Morricone – with a hint of The Ipcress File(?).

    If you have Spotify, you can check out his UNCLE: Mood Board playlist. I think that gives an insight to what inspirations he had making the score.

    Guy Ritchie specifically didn't want Pemberton to do a Bond sound. Interview from 2015:

    https://hmssweblog.wordpress.com/2015/08/03/daniel-pemberton-u-n-c-l-e-score-avoids-007-sound/

    This is an interesting quote; I'll have to give "Into the Lair" a listen.


    Guy was very insistent it DIDN’T sound like Bond which I think is the template for any sort of spy cliche these days. So that was good. It meant we probably didn’t use as much brass as I originally thought we would but I think it gives our film a very different sonic palette. There’s one cue ‘Into The Lair’ which Guy was like, ‘It’s a bit Bondy – but I’ll let you have it,’ as it was all the big tremolo strings John Barry was so great at.


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