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@AstonLotus would approve this.
2015-2019 Eon was fully in control and has no reason to delay in that gap
EON began working on what would become NTTD in early 2016. Plus don’t forget they had Danny Boyle attached as director for most of 2018 before they hired Fukunaga later that year. So they weren’t sitting around doing nothing during that gap.
And just because Cubby churned out 16 films like a sausage factory for 27 years doesn’t mean his children were obligated to copy that exact amount within the same time frame. I’m sure Eon would have liked to have done a few extra films if circumstances didn’t prevent them. I’m sure they would have been happy with a Bond 23 in 2010 rather than 2012. They certainly would have preferred a Bond 25 in 2019 rather than 2021.
What’s Mike and Barbara’s excuse now? There’s two strikes happening right now. Complaining that they’re not moving fast enough right now is just pathetic fan entitlement.
There will always be a group of fans who feel they're being cheated by EON, and then another group of fans who will wait patiently for the next film.
Trying to get either group to agree is futile. Just don't let it get you to down, it's not worth it.
God, what a cringey video.
You can't be serious and we can't have this Barbara-bashing conversation every time one of you forgets we have 25 films and dozens of books to enjoy while we wait for the next one. Relax.
Most Bond films tackled Political issues and to the lesser extent, Communism for example of how they've portrayed Russia, tackled the likes of Afghanistan (taliban), Nazis and Germans, so seeing North Korea again (probably the most dangerous country of them all), would be interesting.
Probably China too, but North Korea hits on so many levels like Political, Cold War-esque, military.
Maybe make it more like The Living Daylights short story, maybe with a different title:
Have Bond rescue, for example, a British tourist/blogger or a reporter/journalist that will face a death row in North Korea, and Bond was sent to get him/her out of the country, maybe have also a North Korean agent as a villainess (not a western, but a pure Korean).
If the short story showed Bond saving an agent from assassination in East Berlin, here, make it Bond saving a tourist/journalist from a death row in North Korea.
Hear! Hear!
Most of the time it's willful ignorance so that frustrated fans can scream at someone.
There are enough people on this site, who have read and understand the film industry, and a few who actually work in it, that have provided glimpses into the challenges of making a film (let alone a $250 million tent pole movie); but the angry fan refuses to listen and will continue shrieking at the clouds in the sky....
YMMV. Personally I'd rather have a nice craft cocktail once in a while than a series of watered-down beers...
I feel like hiring a good actor and making a good Bond film won’t be enough this time around.
Nowadays it is all about the hype. White male driven franchises are suffering and that demographic is getting older.
EoN must renovate the franchise after decades of Craig playing the “old spy” in a brave new world part but how?
How to conciliate a film true to Bond’s spirit and legacy within the current world sensibilities with a billion or so dollar hit?
NTTD did great at the global boxoffice given the circumstances but that was mainly built on tue film Craig’s last outing as Bond.
Bond has always been able to adapt to the current times, it shouldn't be too much of a big deal.
But nowadays IT IS.
Nowadays I think most directors either come through film schools or, increasingly so, start off by making their own stuff and getting opportunities from there. Rarely are there permanent in-house jobs for editors and those in the camera department, or indeed directors, and at this level they are more freelance based. So yeah, we'll probably see more 'distinct' and one could say 'prestiege' directors taking on Bond.
You’re very critical of the producers and the films they’re putting together, so you must have seen NTTD by now, right @slide_99 ???
You say they went through “five or six directors”, and “a ton of screenwriters” for NTTD. I’m very interested to hear who these five or six directors were, before settling on Fukunaga, and who the “ton” of screenwriters were.
🙄
Yeah Top Gun:Maverick and SpiderMan:No Way Home really suffered due to those problematic white male leads…
I've said several times I've seen the majority of it by now. I don't have to watch every single frame of a movie to have an opinion on it. NTTD credits no less than four writers, plus uncredited rewrites from Scott Burns and Paul Haggis, not to mention the directors like Boyle, Villenueve, and Demange that were courted before they went with Fukunaga. This type of thing wouldn't be an issue if they made these movies the way they used to.
I am very grateful for all we had and if the series ended today I would be satisfied. Its just frustrating sometimes the long waits we have
@slide_99 you haven’t seen the film.
I have feelings about the Mission series. I’ve seen plenty of clips from the new film, and I’ve read what the fans are saying, I’ve read reviews, and watched enough feedback on it. But I don’t go on a site and give my opinion of the film, because I haven’t actually watched it.
It would be the height of hubris/arrogance to slam a film I haven’t seen.
You said 5 or 6 directors were looked at before they settled on Fukunaga. They had one meeting, one, with Villeneuve after Boyle left, and they met once with Demange before a script was written for Bond 25; however, Demange has actually tried to hint that he never met with the producers… so who are these 5 or 6 directors that were looked at before settling on Fukunaga.
It seems you not only don’t watch films, but you get information from the tabloid press.
Haggis did not have any fingerprints on any script of B25. That was also tabloid garbage.
You said there were tons of writers looked at. I’m very interested in hearing who these writers were.
For what it's worth if you look at a film like TSWLM there were at least 6 writers commissioned to write versions of the script, and that's not even including the two who were officially credited in the end. DN has three credited writers, and we know of at least one additional writer who worked on it who wasn't credited due to leaving the project early. Several directors were presumably approached for both movies before they went with their choices. So it's not unusual for the Bond series really.
In most modern mainstream tentpole films there could be 12-15 writers (from conception to shooting script); script doctors are hired over and over. It’s a very usual process, but @slide_99 needs to blame someone, hasn’t watched a film he’s highly critical of, and speaks as an authority on how films are made, or should be made.
Maverick is clearly the exception but it was a perfectly made legacy sequel to the biggest hit Tom Cruise ever starred in.
Spider-Man is popular literally everywhere so it doesn’t count.
This topic is something being discussed by box-office analysts, at least regarding the US market. Just look at the movies that broke out and bombed post pandemic and it is clear that old franchises are suffering.
Speaking about the US, white people are also less inclined to go to the theaters than latinos, asians and even black costumers post Covid. But that’s something that already started before the pandemic. In 2019, Latinos made up 26% of frequent moviegoers but only 18% of the population, according to the MPA. White moviegoers, who represented 61% of the population, made up 55% of frequent moviegoers. Asians made up 7% of frequent moviegoers in 2019 while representing 6% of the population.
The worst thing that can happen to Bond is a Dial of Destiny situation but even a Dead Reckoning outcome would be a disaster.
I think they need an A-list director or a more popular actor playing the part this time around to kick off the new era.
Get the story “right”, and build out from there.
Just look at Dead Reckoning.
Coming out after Cruise being a global boxoffice juggernaut last year, stellar reviews, stellar audience scores and yet it will make less than QOS without even taking into account the huge inflation rates.
Thinking the market landscape and audiences interests didn’t change that much compared to 2006 is at least weird.
NTTD did great given the circumstances but it was literally saved by the UK, Germany and northern EU countries.
Bond aficionados are getting older and the spy genre is suffering.
They need to find a way to appeal younger audiences with the new one, firstly.