SPECTRE Production Timeline

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  • SandySandy Somewhere in Europe
    Posts: 4,012
    @Gustav_Graves with all due respect, you spoke a lot but didn't say much. Why would it be weird to hire David Arnold? So, he has a shorter CV than Newman, and Newman has a shorter CV than John Williams. Let's get John Williams! (I'm being ironic here). What factors here is that Mendes likes to work with Newman, Eon wants Mendes so they get Newman! If there was another director he might not go with Arnold in the end but I doubt Broccoli/Wilson's "love" for Newman would keep him in the job.
  • edited September 2014 Posts: 908
    I hugely doubt the Broccoli's have turned against Arnold. My understanding is that Mendes wanted Newman and EON give Sam everything he wants. It was as simple as that.

    Newman did a great score and got Oscar nominated for it but I heard whispers that EON were unhappy with his work

    Careful decision-maing processes
    It's never a "turned against him" or "we always support him" situation. These decisions are being made carefully, weighing all factors. Do not forget that Babs & Michael have the final choice, regardless of Thomas Newman's credentials. They have the power to hire David Arnold, not Sam Mendes".

    On paper that might be true. But I seriously think, that Broccoli and Wilson lack the necessary vision to give a straight yes or no to whomever director they have. Each and everyone of their movies in the new millennium is full of " Are you fricking kidding me?!? Get out of my way,run and never look back"moments courtesy of their respectively directors. For example: Brosnan surfing the Tsunami, Craig without the Tuxedo jacket leaning over the casino table like a nouveaux rich Texan oil billionaire during the climax of the poker game, Forster rushing through his 200 millions budget scenery with about 300 mph and Mendes blowing completely up the (probably reasonable logical) script of P&W just because it stroke his fancy.
  • Matt_Helm wrote: »
    I hugely doubt the Broccoli's have turned against Arnold. My understanding is that Mendes wanted Newman and EON give Sam everything he wants. It was as simple as that.

    Newman did a great score and got Oscar nominated for it but I heard whispers that EON were unhappy with his work

    Careful decision-maing processes
    It's never a "turned against him" or "we always support him" situation. These decisions are being made carefully, weighing all factors. Do not forget that Babs & Michael have the final choice, regardless of Thomas Newman's credentials. They have the power to hire David Arnold, not Sam Mendes".

    On paper that might be true. But I seriously think, that Broccoli and Wilson lack the necessary vision to give a straight yes or no to whomever director they have. Each and everyone of their movies in the new millennium is full of " Are you fricking kidding me?!? Get out of my way,run and never look back"moments courtesy of their respectively directors. For example: Brosnan surfing the Tsunami, Craig without the Tuxedo jacket leaning over the casino table like a nouveaux rich Texan oil billionaire during the climax of the poker game, Forster rushing through his 200 millions budget scenery with about 300 mph and Mendes blowing completely up the (probably reasonable logical) script of P&W just because it stroke his fancy.

    You need to understand that we also live in the era of social media. Each bit of criticism is enlarged to such a scale, that it sometimes can make or break a movie. Directors can not do just.....nothing. Allthough criticism nowadays is being spread out truly fast, directors can not just ignore that criticism.

    For me personally it would be wrong to replace Thomas Newman again for David Arnold. Because don't forget that even David Arnold received lots of criticism for his "unimaginative" scores.

    Change is good. Even fast changes sometimes help. But if it's too fast and if the director's decisions become only "reactions to...", and not carefully weighted decisions, then it goes wrong.

    So far, I think that's not the case. All of Craig's movies were box office successes, and not just mild ones. No, Craig's film created a new kind of "golden age" for Bond. Perhaps the only real risky move was to fire Pierce Brosnan from his role. But even that I found a ingenious decision afterwards.

    So in all honesty I think Babs & Michael's vision to the Craig films really work. Just compare CR/QOS/SF with GE/TND/TWINE/DAD and you can not just say that Babs & Michael lack vision.

  • Sandy wrote: »
    @Gustav_Graves with all due respect, you spoke a lot but didn't say much. Why would it be weird to hire David Arnold? So, he has a shorter CV than Newman, and Newman has a shorter CV than John Williams. Let's get John Williams! (I'm being ironic here). What factors here is that Mendes likes to work with Newman, Eon wants Mendes so they get Newman! If there was another director he might not go with Arnold in the end but I doubt Broccoli/Wilson's "love" for Newman would keep him in the job.

    What I wanted to say is this: Ask yourself if you are going to a job interview and there are several candidates. Do you really think the candidate with the less impressive CV gets the job? Off course not. The movie business can be as hard as other businesses.
  • Posts: 5,745
    Sandy wrote: »
    Sam Mendes has worked (almost?) exclusively with Newman but never worked with Arnold, that is why we are not getting Arnold. I doubt we would get Newman again with any other director. In the future another director might bring Arnold back, he's done some amazing work especially in CR and QoS and is now in great demant due to his work in Sherlock, for example.

    I honestly hope they gun for Martin Campbell back for Bond 25. For sure his last Bond film, and he can finish Craig just as he started him, at the top of his game. Bring Arnold, too.

    Great news about Hoytema.
  • Posts: 2,491
    The 2nd best thing after having Deakins back.

    I would have preferred to have Deakins but the man with the name of a Bond villain is great choice.

    I trust the team that is part of the movie that will give us another great movie.
  • edited September 2014 Posts: 2,015
    Benny wrote: »
    In order for news to be credible, a link needs to be provided as to the source.
    If you want the respect of your fellow members, you have to earn it. Next time you have a news story, by all means share it. But provide a link to the source as well.

    The guy wrote out of the blue here it was confirmed just two days before a well respected site breaks the scoop in a similar manner ? For me it's a sign he got some real info, and not just an educated guess, on the contrary...

    The world of scoop is weird though : HitFix claims it's confirmed it's Van Hoytema but can't confirm he will use film. Weird, on this forum, we know from Deakins for 4 months now, that Deakins said "All I know is 100% shooting back on film as I know the lab handling it" (on his forum).

    http://www.rogerdeakins.com/forum2/viewtopic.php?f=25&t=2977

    There you go, you can put a scoop on Hitfix, with an actual source anyone can check this time :)

  • StrelikStrelik Spectre Island
    edited September 2014 Posts: 108
    The world of scoop is weird though : HitFix claims it's confirmed it's Von Hoytema but can't confirm he will use film. Weird, on this forum, we know from Deakins for 4 months now, that Deakins said "All I know is 100% shooting back on film as I know the lab handling it" (on his forum).

    http://www.rogerdeakins.com/forum2/viewtopic.php?f=25&t=2977
    Hmm.

    Perhaps Mendes and Hoytema are still debating the format or whether to use multiple formats. Hoytema just used 35mm, 65mm, and IMAX for Nolan's "Interstellar" (which is similar to the approach Nolan and Wally Pfister used for "The Dark Knight Rises").

    Before that, Hoytema used the Arri Alexa for "Her" (2013), which is the same digital camera used by Deakins for Skyfall. Hoytema seems to have become more comfortable using digital during the past two years.

    It's possible that Bond 24 will use a 35mm/IMAX hybrid or be digital entirely. I guess we will know when the the Bond 24 press conference happens in December.

  • Posts: 4,619
    Strelik wrote: »
    It's possible that Bond 24 will use a 35mm/IMAX hybrid or be digital entirely.

    Bond 24 won't be shot in digital, we have known this for a long time.

  • edited September 2014 Posts: 2,015
    Strelik wrote: »
    It's possible that Bond 24 will use a 35mm/IMAX hybrid or be digital entirely.

    We know that if Van Hoytema works on Bond, it's probably not from a decision taken ages ago, as he had a conflict with his most important project, the biggest movie ever in his country with his director friend - that was yet delayed again in the end.

    However, when you have to be sure the film laboratory will be ready for you to process all the daily rushes etc.. yes, you have to book them quite in advance. Films labs are part of companies who now are making less and less business (because the mass is going digital), you can't ask them to be very reactive. There are even directors like Spielberg who proposed to fund film factories so they are sure they will still have films and film lab in the next years !

    So Deakins knowing 100% for sure the lab has been booked is IMO actually the strongest piece of information of all we heard on the topic (apart from the fact he said he won't return, obviously :) ). But yes there's still the possibility they can cancel everything. It'll be a bad news if a production this big goes digital at the "last minute" though, funders will consider film less and less a reliable business.

  • edited September 2014 Posts: 4,619
    @Suivez_ce_parachute Stop spreading bullshit! There is no way they would go digital in the "last minute". It simply doesn't work like that. Also, Hoytema has signed up to do Bond 24 in June the latest but probably much earlier than that and I doubt he considers a Swedish movie (no matter how big it is) a more important project for himself than movies like Interstellar and Bond 24.
  • Pajan005Pajan005 Stockholm, Sweden
    Posts: 432
    @Suivez_ce_parachute Stop spreading bullshit! There is no way they would go digital in the "last minute". It simply doesn't work like that. Also, Hoytema has signed up to do Bond 24 in June the latest but probably much earlier than that and I doubt he considers a Swedish movie (no matter how big it is) a more important project for himself than movies like Interstellar and Bond 24.

    I wouldn't mind him doing the Swedish film. There's already another version of the Lionheart Brothers which is considered a Swedish classic. I can understand why do would need more time to get that right. If they are gonna film that in Sweden it will surely be during the summer. So, it would give Hoytema good time to work on Bond 24 from December to May.
  • edited September 2014 Posts: 11,119
    * Listening my favourite collection of tracks from scores by Thomas Newman. *
    * Now playing "Tennyson/Enquiry", and feeling the tension building up towards a climatic attack by Silva and and his henchmen, dressed as the London Metropolitan Police. *
    * Re-reading van Hoytema's entire CV in extacy. *
    * Me becomes nerdy again :)) 8-} =D> *
  • edited September 2014 Posts: 5,994
    According to this article :

    jeanmarcmorandini.com/article-326324-le-tournage-du-24eme-james-bond-debutera-en-decembre-prochain.html

    Filming will begin on december 6th in Italy, Morocco and Austria. No news on the title still.
  • edited September 2014 Posts: 11,119
    Broccoli, Wilson, Craig: A truly unique team
    I also believe that, when Daniel Craig joined the cast in 2006, he has become some kind of "creative associate producer" as well. Bond actor Daniel Craig has become way more involved in the creative process than previous Bond actors. Add to that Craig's idea/suggestion to Babs & Michael to hire Sam Mendes for "Skyfall", and hear hear.......a perfect team in which final agreements are being made when everyone is happy.

    It's modern....and truly wunderful.....that Broccoli, Wilson, Craig & Mendes are working so tightly together. This team truly wants the best of the best....not just "another good Bond movie". They really want the Bond franchise to be trendsetting again. And this includes a composer whose more extensive filmography -a fact, check IMDB- than David Arnold. It's a bit unique for the franchise though and rather new for the Bond fans as well, as in the past the producers "Cubby" & Harry truly had the final say over cast/crew choices, resulting in rather stingy disagreements, for example between John Barry and Harry Saltzman. And let's not forget Sean Connery, whose own creative ideas were usually ignored during and after "Goldfinger".

    And read hear an article that confirms it. Thanks MI6-HQ :-9. http://www.mi6-hq.com/sections/articles/history-connery-1965-merchandising?t=&s=&id=03754
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,976
    So a few of you were correct about Hoyte after all. I'm excited to see his work on 'Bond 24.'
  • edited September 2014 Posts: 18
    As the first media in Scandinavia (and one of the the first in the world), I could confirm this early morning that Hoyte van Hoytema IS the new Bond 24 cinematographer. http://jamesbondnorge.no/?p=2186

    Several sources confirmed it to me.

    As a film buff and a huge James Bond fan, I have always enoyed his work. He is one of the best cinematographers today. I am so glad Mendes is working with him.


  • Hoyte van Hoytema has actually done several Norwegian films.
  • I think his cinematography on "Bond 24" is going to be amazing.

    The fact that he has already worked on a spy film "Tinker Tailor Soldier Spy" (although it is different than a Bond film), big action sequences in " Interstellar " and worked with several acclaimed filmmakers (Alfredson, Russell, Jonze and recently Nolan ) makes him ideally suited for the "Bond 24" job.
  • Posts: 4,619
    Hoytema shot Interstellar partially with IMAX cameras. I'm wondering if they will shoot Bond 24 partially in IMAX format...
  • WalecsWalecs On Her Majesty's Secret Service
    edited September 2014 Posts: 3,157
    StoneShi wrote: »
    Arnold is gone burger. Broccolis won't work with him again after the QOS experience.

    Yeah, let's blame David Arnold for an awful film with a horrid incomplete screenplay, a terrible directing, a cacophonic theme song and an underwhelming cast (aside from Craig, Dench, Giannini and Olga, and three of these were cast in the previous movie).
  • Walecs wrote: »
    StoneShi wrote: »
    Arnold is gone burger. Broccolis won't work with him again after the QOS experience.

    Yeah, let's blame David Arnold for an awful film with a horrid incomplete screenplay, a terrible directing, a cacophonic theme song and an underwhelming cast (aside from Craig, Dench, Giannini and Olga, and three of these were cast in the previous movie).

    David Arnold is not responsible as such. That is nonsense, and you know it.

    I do blaim Arnold for a rather lacklustre score that IMO was quite forgettable, except for that one mysterious track called "Night At The Opera".
  • Walecs wrote: »
    StoneShi wrote: »
    Arnold is gone burger. Broccolis won't work with him again after the QOS experience.

    Yeah, let's blame David Arnold for an awful film with a horrid incomplete screenplay, a terrible directing, a cacophonic theme song and an underwhelming cast (aside from Craig, Dench, Giannini and Olga, and three of these were cast in the previous movie).

    David Arnold is not responsible as such. That is nonsense, and you know it.

    I do blaim Arnold for a rather lacklustre score that IMO was quite forgettable, except for that one mysterious track called "Night At The Opera".

    That makes it 1:0 for QoS vs SF, which was simply utterly boring.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    SF's score overall compared to QoS is a joke; even more so when you mentally digest the fact that it was Newman who scored the former.
  • If you want a decent Arnold Bond score, TND and CR rule the roost. QoS was extremely mediocre. Rather like the film itself.
  • Matt_Helm wrote: »
    I hugely doubt the Broccoli's have turned against Arnold. My understanding is that Mendes wanted Newman and EON give Sam everything he wants. It was as simple as that.

    Newman did a great score and got Oscar nominated for it but I heard whispers that EON were unhappy with his work

    Careful decision-maing processes
    It's never a "turned against him" or "we always support him" situation. These decisions are being made carefully, weighing all factors. Do not forget that Babs & Michael have the final choice, regardless of Thomas Newman's credentials. They have the power to hire David Arnold, not Sam Mendes".

    On paper that might be true. But I seriously think, that Broccoli and Wilson lack the necessary vision to give a straight yes or no to whomever director they have. Each and everyone of their movies in the new millennium is full of " Are you fricking kidding me?!? Get out of my way,run and never look back"moments courtesy of their respectively directors. For example: Brosnan surfing the Tsunami, Craig without the Tuxedo jacket leaning over the casino table like a nouveaux rich Texan oil billionaire during the climax of the poker game, Forster rushing through his 200 millions budget scenery with about 300 mph and Mendes blowing completely up the (probably reasonable logical) script of P&W just because it stroke his fancy.


    So in all honesty I think Babs & Michael's vision to the Craig films really work. Just compare CR/QOS/SF with GE/TND/TWINE/DAD and you can not just say that Babs & Michael lack vision.

    The copyright for their "vision" in the Craig era to me seems resting firmly with the guys that pulled of the first season of 24, the makers of the Bourne movies and Nolans take on Batman. Not much credit left for B & W, in my opinion.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    I actually thought his QOS score was better than the CR one, CR has some great moments but found QOS more consistent plus it lacked that awful Austin Powers brass that really brings that already troubled Miami sequence down.

    I think Arnold was really onto something with his Quantum score, that opening sequence of the PTS is a cracker and I love that cue, love to see it revisited in a later entry one day not unlike what Barry used do with 007.
  • SandySandy Somewhere in Europe
    edited September 2014 Posts: 4,012
    Gary Powell was in Pinewood today :)
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    Yes, Arnold did well with the QOS score overall and had some interesting bits in it. I like TND's score, CR's score. Skyfall's only had a few good moments but was lacking overall. So there will always be a faction who prefer Newman and those of us who prefer Arnold compared to Newman's one effort. I do hope that Newman will improve a good deal for Bond 24. He has the talent; he just did not seem to have the heart or desire to do a great Bond film score. I bet he does improve. And I feel sure Arnold will be a contender in the future for other Bond films.

    Now I'm looking forward to Interstellar more than ever. :)
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    Just noticed that Yahoo, which has become more and more of a totally stupid site for any kind of news, has a bit about Bond finally beginning shooting and quotes our site.
    Nothing new in it of course, but since it mentioned MI6 I thought I'd share it.

    https://www.yahoo.com/movies/latest-james-bond-movie-gets-a-start-date-and-all-the-97677470937.html

    As usual, about as substantial as cotton candy. I expect more of the same soon.
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