No Time To Die: Production Diary

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  • Posts: 3,164
    antovolk wrote: »
    antovolk wrote: »
    Not sure if posted already.... Photo from the set confirming something that I thought was no longer happening but looks like it's back on...

    ktf6sgqxmso21.jpg

    https://www.reddit.com/r/JamesBond/comments/b6ersr/first_photo_from_the_bond_25_crew_shooting_in/?utm_source=share&utm_medium=ios_app

    Bond 25 is shooting select sequences on IMAX 70mm film :O

    Great news @antovolk .... Thanks for sharing

    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....

    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.

    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....

    Ah I see thanks for clarifying that, but are they going to yes ADR?

    Probably for some scenes but remember that ideally from an acting POV you don't want to go back and re record ALL the dialogue in post production...which if you shoot the entire thing on IMAX film cameras you're probably gonna have to do. That's the primary reason why not even Nolan shoots entire films on these cameras, cost aside. And when you think about then which parts of the film need the massive canvas that is IMAX 70mm, of course the set pieces come to mind first. Only logical.

    Some context - this means B25 is the first Bond to actually be shot on 70mm (either 5-perf regular or IMAX) and the second to use 'IMAX DNA' as Skyfall was "specially formatted" to 1.90:1 in IMAX venues. Also for Spectre, according to the Sony leaks, Mendes considered using IMAX for the set pieces also but the idea was nixed as there was no UK lab that could process large format film at the time,
    They also thought of doing essentially what McQuarrie did on Mission Impossible Fallout and h.ve the "IMAX" scenes filmed on spherical instead of anamorphic lenses to get that extra height, the opening Mexico sequence was shot that way but ultimately they didn't go for the expanded formatting.
  • Posts: 19,339
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.

    I cant agree with that,alas.
    TND is my favourite score of Brosnan's films,I don't think any of the 4 films have bad scores.
  • Posts: 4,619
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.
  • Posts: 678
    For me, nothing from Newman's scores is as strong as Snow Business (aka skiing theme) from TWINE. I also think Arnold's action tracks were much more thrilling than the ones in SF and SP.

    Now, I really like the SF soundtrack so I'm not gonna trash Newman. I think he created some lovely themes. But if you ask me I'll take Arnold back in a hearbeat.
  • dominicgreenedominicgreene The Eternal QOS Defender
    edited March 2019 Posts: 1,756
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1. Pretty sure that's what they do with all of their digital footage as well. I don't know if film productions still use anamorphic lens.
  • EiragornEiragorn Hessia
    Posts: 108
    @antovolk That's how I interpret the approach too. Nolan needed a compromise between crafting the scenes in-camera, on-set and therefore without ADR and the much richer canvas on the IMAX picture. So he only switched when the scenes relied less on dialogue. I would call the switch too jarring for I only watched all the Dark Knight movies recently. And going full IMAX isn't feasible for artistic as well as financial reasons as you have elaboorated.

    Aside from that: Why should Fukunaga have left Norway already? Because he has privately posted an appreciation for the land? He didn't said farewell or something, he could have also just arrived!
  • Posts: 3,274
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1.
    Are there any examples of this?
    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    Oh, please.
  • edited March 2019 Posts: 2,162
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1. Pretty sure that's what they do with all of their digital footage as well. I don't know if film productions still use anamorphic lens.

    The Day of the Dead sequence in Spectre was shot with anamorphic lenses.
  • edited March 2019 Posts: 3,164
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1. Pretty sure that's what they do with all of their digital footage as well. I don't know if film productions still use anamorphic lens.

    The IMAX footage is cropped to 2.35:1 on most versions outside of IMAX cinemas, the expanded image is an exclusive for those taller screens (and occasionally on Blu-ray as well). So you'd only get the aspect ratio change when you see the film in IMAX or Blu-ray.

    The only films that used the cameras but actually ended up not using the expanded aspect ratio anywhere were Lucy and Star Wars: The Last Jedi. For IMAX it'd be a waste for someone to use the cameras but then not have the expanded image in the final film. It's very much a selling point for them.
  • RC7RC7
    Posts: 10,512
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Wrong and wronger.
  • ResurrectionResurrection Kolkata, India
    edited March 2019 Posts: 2,541
    barryt007 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.

    I cant agree with that,alas.
    TND is my favourite score of Brosnan's films,I don't think any of the 4 films have bad scores.

    I only liked GE & TWINE and some parts of DAD were fantastic but different on TND.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Neither parody but nor good as well. Arnold tried to be too much like Barry and couldn't get either.
  • Posts: 17,753
    Eiragorn wrote: »
    Aside from that: Why should Fukunaga have left Norway already? Because he has privately posted an appreciation for the land? He didn't said farewell or something, he could have also just arrived!

    At first I wondered if it was some sort of joke, as the flag in focus was the Danish one.
  • Posts: 2,162
    barryt007 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.

    I cant agree with that,alas.
    TND is my favourite score of Brosnan's films,I don't think any of the 4 films have bad scores.

    I only liked GE & TWINE and some parts of DAD were fantastic but different on TND.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Neither parody but nor good as well. Arnold tried to be too much like Barry and couldn't get either.

    “White Knight” is great. Everthing else is a bit meh. I know we’re going off topic...
  • 007Blofeld007Blofeld In the freedom of the West.
    Posts: 3,126
    matt_u wrote: »
    JamesCraig wrote: »
    You people should know that I haven't listened to his SP score yet...

    But yeah, bring back Arnold! ;-)
    If you listened to the SF score, you already listened to the SP score. That's about it, old chap. ;)

    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.

    I would agree
  • 007Blofeld007Blofeld In the freedom of the West.
    edited March 2019 Posts: 3,126
    The more I want a press conference come on EON you can do it don't be scared just give us a press conference :)
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,216
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Wrong and wronger.

    My man.

    TND is a great score.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.
    Wrong and wronger.

    My man.

    TND is a great score.
    Indeed. A damn brilliant one.
  • Posts: 831
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.
    Wrong and wronger.

    My man.

    TND is a great score.
    Indeed. A damn brilliant one.

    One of the few opinions I thought Bond fans were unilaterally aligned on, actually.
  • ResurrectionResurrection Kolkata, India
    edited March 2019 Posts: 2,541
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Wrong and wronger.

    For you may be, not for me.... TND score is like SP screenplay far from brilliant
    Zekidk wrote: »
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1.
    Are there any examples of this?
    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    Oh, please.

    Still meh.... Newman's romantic scores are far better than this.
  • NS_writingsNS_writings Buenos Aires
    Posts: 544
    Zekidk wrote: »
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1.
    Are there any examples of this?
    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    Oh, please.

    Agreed! TND is a fantastic and very Bondian soundtrack. I prefer the ethnical flavour of TWINE, but still, TND, TWINE and CR are probably the best Arnold Bond OSTs.
  • Posts: 416
    BOND 25 please.
  • MaxCasinoMaxCasino United States
    Posts: 4,619
    Gareth007 wrote: »
    BOND 25 please.

    Yes please.

    Although TND is a great score.
  • Posts: 3,164
    Mallory wrote: »
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1. Pretty sure that's what they do with all of their digital footage as well. I don't know if film productions still use anamorphic lens.

    The Day of the Dead sequence in Spectre was shot with anamorphic lenses.

    You mean spherical, right? The rest of the film was anamorphic.
  • TripAcesTripAces Universal Exports
    Posts: 4,584
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Wrong and wronger.

    For you may be, not for me.... TND score is like SP screenplay far from brilliant
    Zekidk wrote: »
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1.
    Are there any examples of this?
    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    Oh, please.

    Still meh.... Newman's romantic scores are far better than this.

    True. But you don't get it. Newman is an American. Arnold is British. That's where this crap comes from. Any argument about Newman's merit falls on deaf ears. It's all ab out taste, anyway. But there isn't a single person working in film who'd put Arnold in Newman's class.
  • RemingtonRemington I'll do anything for a woman with a knife.
    Posts: 1,534
    Gareth007 wrote: »
    BOND 25 please.

    It'll happen when we get some more news. Relax.
  • edited March 2019 Posts: 12,466
    Did any of the previous films start shooting af all before the press conferences?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,216
    TripAces wrote: »
    RC7 wrote: »
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.

    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    RC7 wrote: »
    I neither want Arnold nor Newman, I don't want someone who takes two or more than two films to get themselves adjust to the bond sound. I want someone who start with a bang on score with their first film like Martin/Hamlisch/Conti. Even if they only had one chance they did a tremendous job imo.

    Arnold did exactly that.
    The score of TND was a parody remix of the James Bond theme.

    Wrong and wronger.

    For you may be, not for me.... TND score is like SP screenplay far from brilliant
    Zekidk wrote: »
    Technically, no one is stopping them from cropping the IMAX footage to 2.35:1.
    Are there any examples of this?
    Tomorrow Never Dies is one of the weakest score of PB era even more so than DAD.
    Oh, please.

    Still meh.... Newman's romantic scores are far better than this.

    True. But you don't get it. Newman is an American. Arnold is British. That's where this crap comes from. Any argument about Newman's merit falls on deaf ears. It's all ab out taste, anyway. But there isn't a single person working in film who'd put Arnold in Newman's class.

    Absolute nonsense.
  • Posts: 4,619
    It seems @Pierce2Daniel was wrong and there won’t be any press conference next week. If there were, we would know the exact date already. Maybe the week after next.
  • Posts: 1,680
    I still say it’s in May.
  • Posts: 1,680
    Eleven months before release just like spectre.
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