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Bond 23 postponed "indefinitely"

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Big Orange
PostPosted: 2010-05-11 06:45am 

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^They had a more instrumental soundtrack applied when Bond was blasting through the St. Petersberg archive and through the tank chase, and also in the "romantic" segments, though they had the clunky electronic score elsewhere (which doesn't seem out of place in mid 1990s Russia, but felt odd for James Bond).

Eric Serra's style of music was better suited to GoldenEye's groundbreaking video game spin-off on the N64. David Arnold breezing in to revamp the background music is one of the reasons I'm one of those freaks who thinks Tomorrow Never Dies is Brosnan's best entry.
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Elfdart
PostPosted: 2010-05-11 07:07am 

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LMSx wrote:
It's a shame that Bond 23 is getting kicked down the line, I heard the director Marc Forster had a final scene which was eventually cut at the end of QoS that basically laser guided where the next movie(s) were going to go with QUANTUM. The more time passes, the more likely it is that they just recast and another Power That Be builds a new arc. (The QoS badguy had a brief line at the opera about transferring money from their Siberian holdings, I assume that might have been a relevant location for the next movie. Bond's gotta be in Russia sometime!)

Actually, something QoS was criticized for but I welcomed was how "minor", comparatively, the antagonist's plan was. The guy was just a prick and the scheme tied into that, it was a nice breather after the Giant Space Laser/Korean Annihilation at the end of DAD. Oh yeah- and in comparison to the Star Trek reboot, I also like that they built this reboot's world slow enough that the final "gun cam" at the end of Quantum just means we've finished the traditional prologue.


The more epic the scale of the Bond villain's plan, the harder the movie will suck. There is one exception: Thunderball. From Russia With Love was about retrieving a decoder (so was For Your Eyes Only, about the only watchable Moore Bond film). The later Connery films and most of the Moore and Brosnan films were squarely in Dr. Evil territory.
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Big Orange
PostPosted: 2010-05-11 08:12am 

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I felt Thunderball was rather stilted and stuffy, I prefered the Ian Fleming novel, though SPECTRE could hold a good conference, and stealing nukes was more plausible than Drax launching nerve gas satellites from a huge space station. Dr. No, Goldfinger, and You Only Live Twice were all integral at establishing the Dr. Evil archetype and I like them all roughly equally. Diamonds Are Forever did legitimately suck though.

Bond being more realistic does not necessarily mean it's better; I liked Timothy Dalton doing something rare and taking out a huge drug kingpin with more flare than Moore did in the turgid Live and Let Die, but his frollicks around Eastern Europe and Afghanistan were a tad dated and dull. Likewise I found Roger Moore's The Spy Who Loved Me more entertaining and memorable than For Your Eyes Only (which was another solid Moore entry that was a comparatively grounded spy thriller made in reaction to Moonraker's loony space plot).

Last edited by Big Orange on 2010-05-11 08:58am, edited 1 time in total.
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Elfdart
PostPosted: 2010-05-11 08:46am 

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DaveJB wrote:
Admiral Valdemar wrote:
The music was also a poor part of the film because they used Eric Serra who is a very eclectic composer and liked experimenting (his better scores are Leon and The Fifth Element). After the production crew found out what they'd gotten from him, it was too late to get the score rewritten by someone more traditional. I can't recall if John Barry had been approached or not, though it was a stupid move to restart the franchise and not keep one of the best aspects of previous films.


John Barry had some pretty major disagreements with the Bond producers during production of The Living Daylights, and after that he basically told them to go fuck themselves and refused to ever work on another Bond movie, hence why we got Michael Kamen on Licence to Kill, and then Serra on Goldeneye. Fortunately he did eventually put his differences aside somewhat, and recommended David Arnold to the producers for the post-Goldeneye films.


Uh, no. Barry stopped working for a few years because he nearly died from a ruptured esophagus. His next score would be Dances With Wolves.
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Big Orange
PostPosted: 2010-05-11 09:36am 

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John Barry did a good score for the really sucky 1970s King Kong.
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Anguirus
PostPosted: 2010-05-11 10:14am 

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I actually didn't hate the final score for GoldenEye. The experimental stuff was cool, but it obviously couldn't carry stuff like the tank chase that wound up rescored. So even though it was cookie-cutter it wound up decent IMO.

David Arnold rocks my world. I can even forgive him for working for Roland Emmerich. :P
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Big Orange
PostPosted: 2010-05-11 10:19am 

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I love his score for Stargate:

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Elfdart
PostPosted: 2010-05-11 11:46am 

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Big Orange wrote:
John Barry did a good score for the really sucky 1970s King Kong.


He did a GREAT score for The Legend of the Lone Ranger, a movie that sucked so hard the production company was forced into receivership.
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Darth Yan
PostPosted: 2010-05-11 01:12pm 

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They are actually starting to film the new bond film http://www.jamesbondwiki.com/page/Dench ... +in+Spring. so yeah. cool.
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Uraniun235
PostPosted: 2010-05-11 02:22pm 

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LMSx wrote:
Oh yeah- and in comparison to the Star Trek reboot, I also like that they built this reboot's world slow enough that the final "gun cam" at the end of Quantum just means we've finished the traditional prologue.

This is a trend I don't like with these reboots - we don't need to spend half a movie (or a whole fucking movie) painstakingly explaining the character and the world he works in. This was something I really liked with Sherlock Holmes, the movie jumped right in and we got to learn about Holmes and Watson through the progression of the movie, rather than have to endure some shitty 45-90 minute prologue whereby Watson is coming off of his war service and happens to meet Sherlock Holmes and develops his budding bromance firm comradely friendship thanks to some kind of stupid contrived scenario.
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Admiral Valdemar
PostPosted: 2010-05-11 03:04pm 

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You've got to admit, it's a change to see Bond as the novice for once, rather than simply yet another new actor portraying the same character. Instead you have more flexibility in how the character matures, and the suave Connery Bond could come about from the rather rough Dalton analogue we have with Craig.
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