It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
This is going to be quite similar to the Skyfall situation, where EoN scrapped Peter Morgan's "Once Upon a Spy" script and asked P&W to write a new script which kept the best of Morgan's work/ideas. Then, when they hired the director, the script was polished again according to Mendes ideas. This is why I think that a 2019 release seems unlikely now. The P&W script will be 100% polished again by a director fellow screenwriter or even by the director himself.
P&W were part of every Craig movie - the best tenure since Connery - so I'm fine with them returning. Plus, it's obvious that their script will be polished again by someone else.
:x
This. It would probably be the 2nd best film of the Craig era, if this would happen.
Make it so.
Don’t forget to pick your dummy up on the way out.
Do share it here please
As far as I knew Sony leaks were about SP and by going your logic they might have prepared the sets for bond 50 as well.
Once a film enters official pre-production and has a firm release date, then every department must meet numerous deadlines at various stages of production and, of course, post-production, and set-construction is key to keeping the shooting schedule on track.
Yes I Know but this doesn't prove anything about the sets for bond 25 and after SP it might have a low production budget with more realistic and less lavish sets.
https://observer.com/2018/09/white-boy-rick-director-yann-demange-interview/?utm_source=twitter&utm_content=entertainment&utm_medium=social+
He admits that he spoke to Eon a while ago. However, he hasn't spoken to them since Boyle left. I think it's likely that he is playing it coy and doesn't want to jeopardize loosing the gig.
However, White Boy Rick just opened to tepid reviews and a pretty poor box office. The flop is being compared (ironically) to Danny Boyle's Steve Jobs film. They were both films positioned to be Oscar contenders with healthy budgets and promotional campaigns that haven't connected with audiences. Perhaps, Demange needs the Bond gig more than he thought. Deadline also confirm, once agin, that Deamnge is on the shortlist for Bond 25:
https://deadline.com/2018/09/the-predator-white-boy-rick-a-simple-favor-olivia-munn-box-office-1202464594/
I imagine that Demange must be actively campaigning for the role now.
@SonofSean
Why are you speaking so condescendingly of Barbara Broccoli? What has "Babs" ever done to you? Are you really another one of those unintelligent, ignorant Internet jokers who can only reproduce angry outbursts started by others while failing to think for themselves?
You wrote that "they are not going to start building sets without even knowing what they are going to do," I simply pointed out that they have already done so in the past.
Please, with respect, no Duh! I'm sure the Mods and many other members here, including myself, do not want this forum descending into child-like insults again. But just to clarify, many tent pole films enter pre-production without a finished or signed off shooting script, it happens all the time. Look at Mi: Fallout for example. If a film has a set release date, that drives production. And screenplays evolve with a production as well, say, for example, they find a wonderful location, which they realise they can make greater use of, and so they will fashion the script accordingly. This also happens all the time.
If P&W are indeed scripting their treatment, and Hodge's script is now being 100% dropped, then that is, as you suggest, a different matter, and then I suspect we will hear very soon that the production is being pushed back. The question will be, by how much.
It always surprises me how studios get in this situation. Is it that difficult to create a script?
Obviously, I'm ignorant as many studio productions and tent-pole films find themselves in this situation. I'd imagine they'd all like to avoid being in such a predicament, however, many end up in this dilemma.
In fact, Fallout had so many script problems. McQuarrie has openly spoken about how he was creating the script as he was going on. He wrote huge parts of the script on the move and major character events/deaths were decided either on the day or very close to filming. I'd recommend people listen to his lengthy and terrific Empire podcast:
https://www.empireonline.com/movies/news/mission-impossible-fallout-spoiler-special-ft-christopher-mcquarrie-part-1/
The only things that were locked in were the action sequences. The actual plot, story and dialogue were written as they went along. It's probably why the dialogue is so tinny and the plot so convoluted. However, Fallout is still a pure adrenaline jolt of great cinema.
Fallout had one of the messiest productions but Mcquarrie made it work. Can't we just get McQuarrie?
There is nothing wrong with rewrites after a film has offically entered pre-production as long as they start with a script that is more or less finished and they are happy with.
Doing late rewrites because you came up with an excellent idea = great!
Doing late rewrites because you have to (because you don't have a finished script) = trouble. (Not always of course, but more often than not.)
They write, they include somebody else’s idea, the producers inject their ideas and restrictions, they fit in sets or locations already dictated, someone else polishes their efforts. It seems impossible to know how much is down to them in the end.
https://www.google.com/amp/s/screenrant.com/mission-impossible-fallout-script-christopher-mcquarrie/amp/
Similar to how I feel about CR. Actually, I never cared for Paul Haggis' addition of having Vesper die in the sinking house. I don't loathe it, but I felt the ending would have had more impact had it simply followed the novel. Worked fine for OHMSS. I believe P&W's original draft was a bit closer to the novel actually. Forget where I read that, though.
Maybe on this site somewhere?
I seriously doubt P&W were completely responsible for the foster/brother idea in SP.
I'm glad they're coming back to work on the script.
The brother angle was 100% Mendes idea. SF was about mothers, SP was about fathers.
Not sure what to make of it, but that's what is doing the rounds along with speculation of a delay, which I hope is untrue.
--
Even Boyle's own comments on the matter seem to suggest that the main issue lied with his /Hodge's script (the so called lack of freshness and the fact that his fandom is primarily based on the novels). If this is so, then what was this 'great golden idea' that we heard so much about at the start, inflating expectations further than initial promises of a 'high'? You know, the one that caused everyone to drop everything and bring Hodge on to begin with? The idea that, strangely, never leaked.
Could it be that there really wasn't such a great idea after all, but they had to leak it as such in order to justify why they were dropping P&W (after announcing them in July 2017) to go with Hodge? Could it be that the only reason P&W were dropped was because of Boyle's insistence that he would only take on the project if the script was 'original' (not meaning 'non-Fleming' as tweeted by JamesBond007 last week, but rather 'non-P&W' based) by his preferred scribe? Hopefully one day we will know for sure but these recent comments about Hodge's script being always based on P&W's original treatment appear revisionist and suspect to me, since we all know that they suddenly disappeared from all public announcements after Boyle came on board.
Irrespective of what the actual truth is I wish these people could do a better job on the PR/communications front. This is where a lot of the fault lies imho, leading to understandable frustrations among fans and further exacerbating the misreporting in the media. So ultimately the impression conveyed, rightly or wrongly, is one of confusion and chaos. Given the size of these films and the money they make globally these days, a tighter PR operation would be welcomed.
---
I am increasingly of the opinion (and that's all it is) that this film has had a lot to do with what's happening with B25. I think this is about more than just injecting more 'action' and a more fundamental script rethink is underway. One suspects (foolishly hopes?) we will see more of the glossy 'cinematic icon' onscreen for B25 and less of the angsty realistic 'grit' when it's all over and done with.
Or Bond 25, for that matter.
I was thinking, and if we compare the timeline to the 2002 - 2006 haitus, wouldn't we already be at a place where Brosnan had been sacked by now? It seems like we're in limbo at the moment, and as much as we hear about stuff happening "behind the scenes" there's never much evidence of it. Having a shortlist of directors doesn't convey how close a deal is to being made, and hiring writers is hardily evidence of much. Writers are hired for projects all the time, doesn't mean it goes anywhere. Didn't they have a script about AI close to complete for Dalton's third Bond film?
I'm pretty sure one of the key points of their deal with Universal is to have Craig in the role. His last two outings were the highest grossing Bond films in the history of the franchise. He's regarded as the best Bond since Connery and he guarantees a certain amount of success. He's even a producer and we know how his decisions are capital during the whole creative process. In comparison with Craig, the other actors looked like puppets in the hand of the Broccoli.
For now, for what we know, a Craigexit is off the table. Since the release date is still October 2019, speculating about this stuff is just nonsense.
It's just...where do I even begin?