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Comments
Potential there for high(-ish) and tight. Always thought it the look that suits him best as Bond. Pierce, as well.
Only an opinion a hardcore Bond fan could have (or even think about): their best haircuts, by wide margins, are SPECTRE and TWINE, respectively.
I may have found more proof that this is indeed the stunt double for a character played by Rami Malek. The actor above recently started following Malek's alleged acting coach on Bohemian Rhapsody https://instagram.com/pollyannabennett?utm_source=ig_profile_share&igshid=14ehclmy7bh38
Personally I prefer Dan's CR hair and Pierce's TND look.
TWINE hair is Pb epic. QoS better than SP for the DC era.
Hopefully Mendes will make sure he's busy, we certainly don't want anymore rush jobs on the score like his cut and paste SPECTRE fiasco.
https://www.hadeland.no/kultur/nordmarka/james-bond/solete-veg-for-filmcrewet-i-nordmarka-de-vasker-bilene-sine-hele-tida/s/5-21-556024
I couldn't agree more,it really was woeful,lazy and arrogant work in SP.
But yeah, bring back Arnold! ;-)
Disappointed by this...
I think this style of filmmaking fetishises the action sequences.
It tells the audience that when the aspect ratio opens they can get excited as the ‘spectacle’ is about to begin. Essentially, 2:35 is used for the ‘boring story and plot’ bits.
Christopher Nolan has been doing it a lot and it leads to an ugly and inconsisten look. Not a fan.
I was hoping that Fukunaga and Sandgren would see a return of the dream team of Menses and Deakins....
Oh come on... in SP there are some lovely new themes. Day of the dead, Lucia's, Backfire, Bond and Madeleine lovely piano theme... I’m not a super fan of Newman’s Bond scores but there are some fine new additions in SP.
The SPECTRE soundtrack is repetitive but by no means a fiasco. The romantic tracks (Madeleine, Donna Lucia, Secret Room, End Titles) are among the most beautiful I've ever heard on the series - to be honest I prefer them over some pieces of Barry and Arnold in a sense they are more subtle and poignant. In fact, if I had to pick between the soundtracks of Skyfall and SPECTRE I'd pick the latter without a shadow of doubt. It's a hundered times more Bondian and this time Newman isn't scared of playing with the James Bond Theme (Detonation, Los Muertos Vivos Están, the unreleased gunbarrel and Bond Theme riff before the main titles). I can understand SPECTRE has many weak points, but to me the soundtrack is definitely not one of them.
This brings back memories of Eric Serra's "For Ever, James" but like 10 times more poignant. I hear this and the first thing that comes to my mind is love and careness, like a feeling of a truly romantic love.
I concur. I thought there were some brilliant aspects of the SP soundtrack.
I also tought "It's repetitive" until I saw the film and how it fitted with each scene.
Let me help you out:
The Spectre OST has 26 tracks, totaling nearly 80 minutes. It is all original material.
Any previous work (from SF) used in SP is at the discretion of the director. This happens sometimes. Cases in point:
1) Trent Reznor and Atticus Ross wrote the music for Ken Burns' documentary The Vietnam War. But Burns also reached back and used some of their work from Dragon Tattoo and The Social Network.
2) In the 1999 film The Virgin Suicides, Sophia Coppola hired the band AIR to write the original music. However, she also chose to use a couple of tracks of theirs from previous work.
Thomas Newman's work on Skyfall won him a Grammy and a BAFTA Award for best film music, as well as an Academy Award nomination. It landed on the Billboard Hot 100 Albums chart and ranked as high as 36 on the UK albums chart.
Now that we have that cleared up, let's move on to Bond 25, which will likely NOT be scored by either Thomas Newman or David Arnold.
What if they shoot the whole film in imax.... Infinity war did it and results were terrific. If they can waste 30 million in that car chase why can't they spend it on imax cameras.
I hate a love/hate relationship with Newman. He's created some great tracks for Bond, but the stupid "She's mine" repetition, and the awful French horn melody in "Backfire" is still painfully ingrained in my mind whenever I think of Spectre
Wa wa waaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa wa.
WA WA WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA WA?
WA WA WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA WA!
WA WA WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA WA!!!!!!!!!!!!!!!
Because those aren't digital IMAX cameras (rebranded Arri Alexa 65s) like the ones used on Avengers but 70mm film. Because they're so noisy you could only really use them for select sequences, you can't use them for dialogue without ADR. Not even Nolan did a film fully shot on the cameras....
It's also an indication that the film will be shot on both film and digital, which is good news I think.
I am very surprised that B25 will be shot partly using IMAX gear. We've had 2.35.1 since TMWTGG.
Arnold did exactly that.
might finally have the hair style from casino royale then.
Ah I see thanks for clarifying that, but are they going to yes ADR?
Either way, I believe the technique is vulgar.
It’s a cheap way of conditioning an audience. Sam Mendes had the right approach to action – incorporating the action into the story and involving character.
Opening up the aspect ratio is another way of telling the audience the ‘rollercoaster’ is about to begin. I think action should be more organically incorporated. The Nolan method fetishizes the action.
Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
Aspect ratios that change during the course of the movie, can take me out of the story. Like a bad edit, very bad acting or like those 70's movies where you could spot the boom-mic in the top of the frame.
I'm an absolute sucker for IMAX-movies, though. Those documentaries that are 100% 70mm. Sadly there's no chance that B25 will be 100% IMAX.
There are some good ones. But, they don't make much of long tracks than cues drowned in long minutes of reused echoes extracted from his SF work. You can't deny that, can you?