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Mmm, it's strange. Makes me think that there's more to it than just adding a few extra lines of dialogue. That doesn't take long at all. If they're adding extra action set pieces and taking out the great character movement Logan probably included, then I would probably kiss goodbye the hope of getting a great Bond film. Thank god for Mendes supposedly cutting out some of the action in the last one. SF just proves that you don't have to have a Bond film choc full of action like the Bronsan movies in order to do well.
BTW - who ever thought Mendes would work on 25? I believe, this was never an option. I think, that is partly the reason, he didn't go for the 2-parter. Its easier to change directors, when they are standalone films and no continuity is needed.
As I say, this really isn't anything to get bent out of shape about. Very, very few movies have just a single writer by the time they get to camera.
And, depending on what they have all agreed needs to be achieved with the new draft, they have figured out a sensible schedule to accommodate the work - Remember the script changes will impact on the pre-production - locations, casting, set builds etc. - so all this must and is factored in when they do re-writes. The re-writing is not just a creative process, but, at this stage of early pre-production, it is a very skilled and technical process too - and that takes time which Eon are making sure they have.
It wouldn't impact the pre-production if it is just what the article said - the punching up of dialogue.
As I say, they are obviously making changes - significant enough to push back the shoot date - but that's filmmaking - it happens ALL the time. All the time.
Welcome to the internet. Facts? We don't need no stinking facts!
But don't we have anybody here, who could get his ear on the nerve? And I am not talking James Page. I think, he is slightly overrated around here. Maybe you, Colonel? ;)
Will do my best, but stuff like this is tricky ;) They tend to sit on their information :-S
But SF really only had one big original action setpiece - in the PTS. That's probably my main reason, why it sits at the middle-to-bottom of my list.
If it wasn't for those 2-4 big action setpieces in Bond movies, I probably would never have been a Bond fan in the first place.
The finale is not big and original enough for you?
IMO FYEO would have worked better had Wood been called back to add a few lines, as the dialogue goes a bit flat for me in that. So getting the same old writers back isn't so bad, though it is a bit odd the choices the producers make; personally I never thought Logan's dialogue was ever any great shakes.
Personally, I'm perfectly okay with the dialogues of OHMSS. Bond's proposal, Tracy's poem, Bond's flirting, it's all perfect.
Is this a trick question?
Still one would have thought they had quite a few months in advance to realize, that the script wasn't up to the task. All their business track of delays and such tends to tell me,that they are not really very gifted producers. It's a shame. 007 just deserves better!
A motorcycle chase turning into a fistfight on top of the train is a big and original action setpiece, for me. A generic shootout, that could have been from any film, isn't.
Guess what, when I started to forward photos and infos about John Logan doing many things not related to Bond several days before this interview and then this Daily Mail paper (and I did this only for John Logan, not for anyone else), it was because of the hearsay I got... :) But even my source was not sure at all, actually. How can one be so sure. It won't even be confirmed ever, for those who expect confirmations of such things...
VFX budget pricing and schedule... :)
OHMSS had a writing polish. It was by Simon Raven, who got an "additional dialogue" credit just before Richard Maibaum's "screenplay by" credit. On the documentary Inside On Her Majesty's Secret Service, Peter Hunt says Raven specifically worked on the scene where Blofeld and Tracy talk just before the attack on Piz Gloria.
There are specific Writer's Guild guidelines and if a writer feels he deserves a credit, they can utilize an arbitration process. Supposedly, that's what happened with The World Is Not Enough. Feirstein went to the WGA and he was given a credit along with Purvis and Wade. Dana Stevens also worked on the script but didn't get a credit.
Some details can be found here at the WGA website (scroll down to No. 4 "Screenplay by"):
http://www.wga.org/subpage_writersresources.aspx?id=171
IF they are hired to raise the stakes. I think they would be more useful there, especially if the plot idea does not come from them, than they would be polishing dialogues, which they are not exactly good at. Having them rewrite part of the plot to make it larger scale would be the logical thing to have them involved again. They are not very original, they rely too much on scifi, but this can be controlled and they know when to add a nuke or two.
I better not give them any ideas...
OHMSS? Didn't Simon Raven polish the dialogue on that one, and quite well?
Who is responsible for the last line of TWINE? Fierstein or P&W?
I don't see that happening with Mendes, touch wood.
I better not see it happening with any director. At all. Ever.