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Something like the opening of Touch of Evil is the grandad of those shots. That at least shows the inciting incident, introduces important characters, and sustains a good level of tension that really makes it stand out from the one in SP. There's a cool German film from 2015 called Victoria which is a whole film done in a single take (no camera tricks etc.) It makes good use of that style though - you have moments where the character has to make important decisions, decide which way to go etc. and the camera will break away from the character and pan from one side to the other as she makes that decision (so in a sense it's a visualisation of the idea of being 'stuck at a crossroad' if that makes sense).
I didn't very much like the long take during the stairwell shootout in NTTD. It lacked tension in the same way the stairwell fight from CR did. Might be because the violence/fight choreography during NTTD's final act doesn't feel very 'real' to me anyway until the very end.
Your link doesnt work, so here it is.
https://directorpoint.com/login?redirectTo=/
I think Wright is an entertaining director. But for a Bond film, I don't know if his penchant for quirky comedy might be too much. Also, I know NTTD is seen as a dark Bond film, but the comedy in it was also very much. So I don't know if Wright can get the balance right for a Bond film. Because his films are original ideas, so he's free to always insert his excessive zany style into it.
I don't think there's any guarantee Wright would make a 'lighthearted' Bond film. Baby Driver has its pithy moments but its essentially an action film played straight. Same for Last Night in Soho, except that's in the psychological horror genre. He might make a more 'kinetic' Bond film perhaps, and there might be a bit more humour thrown in, but even NTTD had its tonal shifts in these directions.
He'd be an interesting choice though, but I don't think he'd give us what we expect of him as a filmmaker if that makes sense.
I don't think EON wait for anyone, even Nolan. Let's be honest, regardless of which director you are, they'll always have others willing to do it, and much of the main ideas come from the producers anyway. They didn't need Boyle for NTTD and were even willing to start afresh without him when it wasn't working out.
They waited for Mendes for Spectre, so if they have their heart set on someone, they will.
Wasn't that by a handful of months though? With a script that hadn't been finalised yet? On a film that was already having some pre-production difficulties? Certainly with a director who'd already done one Bond film previously and seemed on the fence about doing another.
If it works for them and they really want that director, sure they'll take the time to convince them. But I don't think EON are going to wait for Nolan specifically in this instance and delay anything that needn't be already.
I used to agree until I read Cameron being dismissive about Bond and that being part of why he did True Lies to begin with. Then again, he also had a go at comic book movies fairly recently despite having spent a chunk of the late eighties/early nineties working on making an unmade Spider-Man film.
Agree. It seems to call attention to itself. Having seen it three times now, there are spots where Craig seems to anticipate the next sequence as opposed to reacting to events.
I'm not sure how well those two would work together though. Nolan is pretty stringent about shooting on film while Deakins seems to prefer digital for bigger projects. It's not a deal breaker in and of itself (Deakins is masterful and experienced with both formats), but Nolan is also a director more invested in ideas and concepts as of late, whereas Deakins seems to prioritise emotion.
Yes, it's a case where everything just looks too choreographed and polished. This is fine for certain films if the tone is right (again, the Kingsman scene being an example) but in a Bond film you really need to feel like the characters are in danger.
I think Mendes missed Deakins on Spectre. Hoytema is a fantastic cinematographer, both with or without Nolan (Nope in IMAX earlier this year was phenomenal looking), but I dont think the two really gelled. It was their first collaboration and Mendes probably felt on much shakier ground with SP and that lack, or diminished, vision on the project, probably affected Hoytema. Idk, just my read on it.
Would Wright be right for the job ? Does he have enough left in the tank ? Would the film take a significant turn with him as director ?....OK....I think I'm done...
Yeah, I agree. Mendes missed Deakins in SP. I think Deakins' presence would have made Mendes direct the film better. 1917 is another good example.
I think that it is more likely that Eon will hire a director who is less of an A-lister and who has a resume similar to Cary Fukunaga. Basically, a director with a strong background in film/TV and who is very much on the rise. I'm thinking of people along the lines of the following names:
The thing about 'the film industry' is that there are many people within it with various different jobs at various different levels. Even if this guy's friend works for Amazon and has 'heard stuff', he likely has little if anything to do with the production of Bond 26 and never will. In that sense anything that comes from such sources is just rumours until proven otherwise.
Again, I have no idea whether there's anything to it or not (there may well be). But anyone who has worked, for example, in an office will know of the constant gossiping about what cuts a company is going to make, what decisions a boss is going to implement. Sometimes these whisperings turn out to be true, other times not. It's more or less the same sort of thing here.
Let me put it this way: I don't want a 2024 release. I want them to take their time and get it right.