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Comments
You can even see the muzzle flash here...
I would guess they were probably using a prop that has a flint at the end so as it produces an actual muzzle flash when the trigger is pulled, the stuntman accidentally squeezed the trigger, and luckily the foley artists spotted it so they could at least get the sound in.
This has always REALLY bothered me, one of the early signs in DAF (along with "CAI...CAI...CAIRO!" and the absolutely sabotaged delivery of "Bond, James Bond" in the PTS) that you're about to watch a tremendous catastrophe of filmmaking. That amount of dialogue is about half of a page in a screenplay. HOW did NO ONE spot this? It's on the same bloody page!
Have a look at these screenshots in sequence:
https://live.staticflickr.com/65535/51586842724_71decf8343_o.jpg
https://live.staticflickr.com/65535/51586405093_b7c98d228a_o.jpg
https://live.staticflickr.com/65535/51586183071_f95c368f7d_o.jpg
https://live.staticflickr.com/65535/51586182586_b1118ddb32_o.jpg
https://live.staticflickr.com/65535/51587080925_2db961f3ef_o.jpg
About 4min55 in:
Bear in mind the fella driving the car performs a stunt when he slides the car into shot. He's a stunt driver.
Good spot, but now I'm confused if it's him or not.
There’s a lot of really bad editing done in this movie. Feels like a lot was due to lack of coverage, but you’d hire a good editor to hide the seams. Normally with that police double you’d cut away the moment the door opens, not actually linger on the shot.
I have to wonder if Cubby just kept bringing back Glen because he was cheaper than hiring someone outside of Eon. There’s a real sense of “this will do” attitude in the 80s Bond films.
You're right though: I reckon the idea for that shot may have been that the stunt driver paused after getting out of the car, there would be an insert close-up of the actor looking up and taking in the scene, then it might cut back to the double in long shot running towards the action. Instead, as you say, they just held the shot when they shouldn't have. Notice all the double does is pause: he doesn't actually react- it's like he's been told to hold it there for a beat so they can cut another shot in.
Mind you, I only just got the gag where Bond kicks the Stetsons off the heads of those two guys in the convertible car: the 'joke' is that they're both bald under their hats. Weak old sauce there.
There’s one moment on the bridge where one of the cops is overacting flailing around getting caught on the antenna of the police car and I’m thinking “was that supposed to be funny??” This is all well after Bond and Stacey escaped.
It’s clearly John Glen and his affinity for Keystone Kops shenanigans but my god this movie is just tonally all over the place. Mendes’ films get a lot of flack for that, but I think John Glen was always the worst offender.
Good point about Glen is his inability to close a Bond film. He clearly needed a more concise, sharper Bond and wasted Dalton trying to be Moore and vice versa.
But, unlike Mendes, I'd cheerily watch any of Glen over and over. I guess it's just the punchy, go-with-it aura which, on the modern day, just doesn't work.