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Comments
I was surprised by the titles, was expecting Kleinman to do the same as SP and SF, but this was quite different. Not as dark, more colour, and the whole sequence flowed better, was going to call for Kleinman to be replaced if we had more of the same from him, but based on these titles, hope he continues as titles designer!
The titles were a little disappointing. I couldn't get over quite how 'meh' they were. Some images were evocative and compelling (such as the cogs, the Britannia statute rotting, hourglass). But so much of it felt pared down and uneventful. The titles for SP felt as though Kleinman was throwing everything and the kitchen sink at the screen - it felt gaudy and OTT. This is almost the exact opposite. Also, the part where Safin's mask explodes and we see the close-ups of the woman's body with the poison tattooing her felt like some budget CGI.
It's a shame as Billie Eilish's song is so good - but Kleinman's images are not elevated by the song. I do think that Kleinman hasn't been on form since his Brosnan days, with SF being his last great title sequence. It was a bit like Binder. He started great, but by the 1980's he had lost his touch. The same is the case here.
It's time for some new blood.
Like I say, Kleinman had a sincerely terrific run and I think he was the best to ever do this, but I'm also in favour of someone new having a crack at it after a quarter-century. I don't think Kleinman (or anyone) could ever top the Casino Royale titles anyway, so it would be fitting to me if he bows out with Craig.
I'm also not opposed to using a more modern eight-sided rifling in the gunbarrel as well, nor am I opposed to not fading out the barrel as the dot expands. I loved that illusion of moving out of the barrel like a bullet.
However the flowers growing inside the woman’s body I took to be the child vowing inside her.
This film was produced and meant to be released long before MGM changed their logo. So I guess earlier versions of the film carry the 2012 logo instead of the 2021 logo?
I was saying this after SP, Kleinman was cramming too much into his titles, and they were getting too dark. NTTD, for me, does away with all that, its brighter, more colourful, and I love the nods to DN, and OHMSS! So I would like him to stay on for Bond 26 please!
Have just noticed, the majority who love the movie, dislike the titles, and those, like myself, love the titles and dislike the movie!!!
Just read 007 Magazine review, and they follow this trend too!!! ( They favour the latter view!)
Interesting. Though I didn't actively hate the film, I'm one of those who enjoys it steadily less once they get to London and I'm not a fan of some of the plotting. And I really liked the credits. I remember thinking that they were referencing the previous credits of the Craig era, and wondered how they would fit sand (from QoS) into the equation... just as the car hit the bottom and was swallowed up by the sand on the seabed.
Yes, liked that part with DB5!
Yes, with the trident. Only good symbolism in the film, IMO. If they'd make it front and center, and not ape other previous films symbolisms, I would have prefer it.
UK release had the CGI lion. The *actual* US release next week should also be the CGI lion but yes, some countries have 2020 versions of the film with the 2012 logo (due to dubbing and other localisation which was done last year - I bet 3D versions will also have the older logo across the board) - that applies for both markets where it's Universal (with the logo turning into the big white dot) and third party distributors (where it's just MGM going to black)
Work for NTTD. A few good uses of symbolism but not as good as his past
work, in my opinion.
And the last gunbarrel I liked was in 1999. That's saying something.
That's very true. And one should go into it completely not knowing or being abe to predict what is going to show up. Just like in the 60s: Coloured dots, letters projected onto naked women, projections of images onto women, shadows firing,... All very different, all very creative.
I'm seeing the film again tonight so I'm going to pay more attention to the main titles as they are just a blur right now, but I liked the sequence more than SPECTRE's titles at the very least.
Bond himself disappearing by losing focus was great, I didn't mind the lack of blood at all. No wobble either? It was like Kleinman had distilled all that was good about the gunbarrel into its purest form. All good from me.
I enjoyed the titles a lot and liked the way they told a bit of story (opening with Bond dumping the wrecked DB5 into the sea, ending with him spearfishing in Jamaica) and the idea of a DNA helix made of little guns was so wonderfully tongue-in-cheek Bondy that it made me laugh.
I need to see it again because of course just like any Kleinman it's so dense and wonderfully packed with ideas. I thought there were a few OHMSS nods in there, plus the trident which very nicely hinted towards Bond's icon on MI6's tracking screen.
So glad to see these in IMAX format too: please release the home video version in full format, Universal.
As per usual you can depend on Kleinman: Eon's MVP for the last 25 years.
Yes, that was a cool part of the titles! Kleinman seems to be getting a bad rap for this title sequence, but I think he was back on form after the rather overblown dark credits for SF/SP! Am glad he decided to use some colour again like CR!
Loved the image of the hourglass too! This was one nod to OHMSS that I liked!
Honestly, the lack of blood didn't bother me. I don't think the blood has been properly or traditionally represented in the Craig films. Plops down too fast in all of them where it should ooze. In addition, in QoS and SF looks more like strawberry jam then blood.
I only agree re: QoS.
On 007's channels or Kleinman's company >
https://www.rattlingstick.com/film-tv/
My ranking of Craig gun barrels:
1. SP - I love how Bond becomes a silhouette after shooting, I hoped that would become a mainstay.
2. NTTD - though I miss the blood, I do like how the iris opens up by “traveling” down the barrel of the gun.
3. CR - Actually the best stance. Not crazy about the barrel design.
4. SF - not sure why the design looks like a vinyl record
5. QOS - looks so cheap and plays way too fast.
All that said, I like that Craig reshot the gun barrel for each film rather than just rely on old stock footage. It was always weird seeing Brosnan’s in DAD because he no longer had that poofy haircut of his by that point.