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No I think Aston Martin themselves own it now ;)
Neither my perception nor experience.
I'd take '06-'21 over '71-'85. Quality over quantity.
Debatable. Personally I’d say the ‘95-‘21 era is comparable to the ‘62-‘89 one in terms of quality on the whole. There’s great instalments like CR, SF, GE, or GF and OHMSS which are regarded as great films in general. There’s also more underwhelming/disappointing ones in there like TMWTGG or DAD (although it’s worth saying the former really put the Bond franchise at risk due to its underperformance, and DAD wasn’t as bad for the series in this sense). There’s some really off the wall ones like MR and NTTD which have their fans.
Bond movies aren’t all going to be masterpieces. That’s just the nature of a long running franchise. But there’s some really great films in both eras.
That’s because you’re a Bond fan, which is different from general audiences who do think of Bond films on the same level as us.
I’ve always thought that LTK had one of the strongest scripts in the entire series. Certainly holds up better as opposed to some of the preceding and following films.
The Bond community would be boring if we shared the same point of view, so agree to disagree.
I thought LTK had some unexpectedly impressive set design....
LTK and OP come pretty close. I do also really enjoy the Main Strike Mine sets from AVTAK as well.
I hear that; in any case I respect your views!
Filmed in the same mine that Peter Hunt and Roger Moore shot “Gold” if I’m not mistaken.
https://www.dailymail.co.uk/news/article-14477579/James-Bond-007-man-UK-Commonwealth-Hollywood.html
https://www.darkhorizons.com/amazons-007-remains-male-british-may-get-cuaron/
No word yet on whether he will remain two-legged.
Those are not the only secret ingredients.
DEWI FOR BOND.💎
Alec Mills, who was the DP for TLD and LTK, definitely did cinematography in a way that made the films look very antiquated when you compare them to movies of that time, most notably during indoor scenes where the lighting style is very old fashioned by the late 80s. I reckon if they snagged someone like Jan de Bont to do the DP work those two Dalton films would have been more visually striking. However, Alec Mills was an in house guy at Eon, so he was cheaper.
That always made me wonder who the director of Bond 17 would have been if Cubby still delivered on 1991. Up to that point, Cubby only hired directors who he had already worked with. For Bond, Lewis Gilbert on YOLT was the last director outside of Eon that got the gig. All films from OHMSS to LTK were either in house like Hunt and Glen, or had already done Bond in the past like Hamilton and Gilbert.
That’s part of what defines the 1962-1989 era for me. Cubby liked to keep his company pretty exclusive to an extend. Whereas with 1995-2021, Michael and Barbara were far more willing to hire directors who were outside the box like Michael Apted.
That's good news I suppose.
Agreed, Although I don't feel TLD as the same problem. And yes, regarding the declining box office receipts others have mentioned, I think it would have been worth it to bring in some new blood behind the scenes to freshen things up.
I remember reading somewhere that following the disastrous “Heaven’s Gate”, MGM/UA ended up cutting back on the budget for FYEO to help save money. I’m not sure how true that is but it makes sense when you consider how much of a disaster “Heaven’s Gate” was.
That's it! I think it was the case for the subsequent years as well. I guess Moore's (much deserved) pay check and film by film contract deals also had an impact. Not easy to deal with (as I always say I don't think there are any villains or heroes in this sort of situation).
Oh yeah; to be fair, I’ve always felt that the reason some of those John Glen Bond films work so well for me is because of how constrained they were by budget; allowing more time to be put on story and character rather than just having a film feel like a series of set pieces edited together, which was perhaps my biggest problem with most of the 70’s era (LALD and TSWLM excluded.)
Stop with the non-white actor stuff. It just sounds like you are being PC. If that is what floats your boat go watch another character. Granted, the days of slapping a woman on the bottom and telling her "Man talk" and "fetch my shoes" are over but Fleming's character at his core is white.
Here’s the timeline of it all:
December 1980: HEAVEN’S GATE has a disastrous premiere in New York, forcing UA to postpone its wide release so that the film could be recut.
February 1981: FYEO concludes production.
April 1981: HEAVEN’S GATE gets its wide release. Only grosses $3.5m against a production budget of $44m, making it one of the biggest box office bombs in film history.
May 1981: Transamerica puts UA on sale and MGM purchased it.
June 1981: FYEO is released by UA’s still active distribution arm, grossing $195m worldwide.
The very last UA release was THE BEAST WITHIN in February 1982. The first MGM/UA release would be PENITENTIARY II in April 1982.
So OP was really the first time Cubby had to deal with the big regime change, as FYEO was practically already in the can by the time MGM purchased UA. Similar parallel to NTTD already being in the can when Amazon made their purchase of MGM.
Gold was filmed on location in South Africa, with studio work taking place at Pinewood.
AVTAK’s mine was shot in Sussex, with interiors shot at Pinewood, on a Peter Lamont designed set.
Don’t think they’re the same
LALD was quite cheap, by the way. Moonraker and TSPWLM were the ones with a big budget. GoldenEye was also cheap, it's not like it was the TSWLM 2.0.
There have always been James Bond movies of all colors and sizes.