Could both Timothy Dalton Bond movies advance in the Tournament of Bonds? We’ll soon find out as The Living Daylights made its tournament appearance and threw down the gauntlet. The Gigadalts blew a #Bond_age_ fuse.
INITIATE THE LIVING DAYLIGHTS LIVE TWEET DIGEST (TOURNAMENT EDITION)!
I’m bored, Bond fans. I’m also tired of being disappointed. I owe that feeling to the lingering stale acidity left in my mouth after Spectre — it’s like I sucked on a lemon three years ago and haven’t brushed my teeth. And you’re yelling back at me things about oral hygiene, but it’s a metaphor and dental health doesn’t matter in metaphors.
By now the #Bond_age_ team should have worked up at least three new podcasts dissecting teaser trailers and posters and casting decisions. Instead we’re on total radio silence because other than some names and scattered casting notions, we’ve got as much information as Blofeld has scruples.
In case you haven’t been paying attention, let’s rundown what we know, what we’re guessing, and what I hope for Bond 25.
What We Know About Bond 25
Before we talk about anything, I’d like to make it clear that Daniel Craig is back. As I said he would be. (Not to brag, but…) So please stop recasting him. For now. Bond 25 comes out February 14th, 2020. After that, we’ll talk.
We know that Danny Boyle was directing a script written by Danny Boyle and Trainspotting screenwriter John Hodge and now he’s not. The EON team cited “creative differences” as the reason for his departure. That means that Boyle wanted to do something different (as he’s want to do) and the Bond institution (the Bondstitution?) said no. This leaves me desperately wanting to know what the hell Danny Boyle had in mind — and how the hell we can see his vision become a reality? An easter egg on the Bond 25 Blu-ray? Lego movie version? Dinner theater?
FIRED. DO NOT PASS GO—LDFINGER. DO NOT COLLECT $200.
We also know that some of the ideas from Boyle’s and Hodge’s script made their way into the current iteration that’s being rewritten by — you guessed it — Neal Purvis and Robert Wade, the scribes who’ve tackled every Bond movie since The World is Not Enough. And while they were been behind the typewriters for Casino Royale, they’ve also been responsible for Die Another Day and Spectre. We can’t read too much into their return other than the fact that EON wants to maintain the status quo — a fact we already knew before they ousted Danny Boyle because the only thing more frightening than “change” in the Bond universe is that Jinx spinoff that never materialized.
But now about the directors — which represents the most definitive fact of all the new facts other than “James Bond will return…” Cary Joji Fukunaga has replaced Danny Boyle. Cary Fukunaga might not be a cinephile’s first choice as his most notable work has been done in the realm of TV — most notably True Detective Season 1 and Maniac. He also directed the film Beasts of No Nation about a child fighting in a fictional civil war-torn African country. (No. I haven’t seen it.) The buzz on the Interwebs loves this choice because of Fukunaga’s status as an important up-and-coming cinematic voice. Many have called it a bold direction for the 57-year-old franchise.
Mandatory Credit: Photo by Vianney Le Caer/Invision/AP/REX/Shutterstock (9881578ak). Britain Maniac World Premiere, London, United Kingdom – 13 Sep 2018
#Bond_age_ Hot Take: Eh. Based on the limited amount of theatrical work we’ve seen from Cary Fukunaga, I can only generalize. I’m excited because he’s shown a broad range of tonal styles from Jane Eyre to Maniac, but I’m not at all confident he’s going to be given the opportunity to break from the Mendes cycle that dinged Skyfall and castrated Spectre. Once upon a time I felt similar enthusiasm for a director named Lee Tamahori. We won’t get Die Another Day out of Fukunaga, but honestly I wouldn’t be opposed to something in that general direction because it would at least mean that someone’s trying to have fun with this series again.
What We’re Guessing
The reported casting calls for Bond 25 has also shed some light (a nightlight at best) on EON’s aspirations. A call for a charismatic/vindictive Russian/Balkan leading man and leading lady with “strong physical combat skills” (also Balkan). I also read at some point that they were seeking a Maori actor with “combat skills.” It sounds like Babs (aka Barbara Broccoli) has been reading current events and watching Moana and in between bites of Fritos synthesized the two.
Maui’s open to new opportunities.
Back in June, a rumor surfaced that Bond producers wanted Helena Bonham Carter to play the lead baddie. I haven’t heard anything since then to deny or corroborate that bit of news. True or false, that sounds delicious to me and would be the first female lead villain since Sophie Marceau in The World is Not Enough (1999).
We expect the tonal consistency of the Craig era to continue to its logical terminus. Fukunaga has shown a light touch within darker material, however. He’s also said that his first Bond was Roger Moore in A View to a Kill — and he refused to pick a favorite Bond actor because “every single one of them has brought their thing to it and its nice to have that difference…” Keep saying the right things, CJF.
I’m also assuming David Arnold comes back to write the score now that Mendes and his boy wonder Newman have left Gotham — I mean Bondtown — for good.
What else can we assume? Well, we can assume that eventually we’ll get a name, a trailer and a teaser poster. We can assume that people will play roles and that drinks will be had and cars will be driven.
WHO STOLE THE COLOR?
What I Want in Bond 25 (Run-On Edition)
I want every trace of Spectre gone and I never want to see Blofeld again. He can be a villain but I want an arm or maybe a leg. A hairy cat, but I want his visage off my screen. I want Arctic Monkeys to do the theme song because that might actually be fun. Have you listened to their new record? It oozes smug like the coldest of martinis and “Four Out of Five” is basically already a Bond song. I want Bond to make bad puns and gamble and match wits with bad guys. Another female villain would be great. I still say that Monica Bellucci should have been the real Blofeld and that would have made all the difference. I would like a Bond movie with some color. Do you remember how vibrant Goldfinger and Thunderball were? You could feel the blue of Bond’s poolside romper. Raise your hand if you remember any color in Spectre? Even Madeleine’s dress looked overexposed. I want Bond to be a cocky bastard and stop with the tired middie-aged introspection that started in Skyfall (because if Bond can’t survive his midlife crisis what hope is there for the rest of us?!?) and go on an actual goddamn MI6 mission handed to him by an M who sits at his desk and makes snide remarks about Bond’s carelessness. HE WILL NOT GO ROGUE. HE WILL BE IN CONSTANT CONTACT WITH HIS SUPERIORS. HE WILL ENJOY BEING HIMSELF. WE WILL ENJOY BOND. BOND NEEDS TO BE BOND AGAIN.
Thank you. Now let’s have the Arctic Monkeys play us out.
In what must certainly be considered the best news to come out of the Bond camp since the Daniel Craig sported a black tactleneck a Spectre teaser, Danny Boyle has confessed to signing on as director for the next James Bond film. Since this is a page about James Bond, we here at #Bond_age_ feel obligated to share our enthusiasm.
We try not to get too worked up about these early nuggets of news, but since we’ve been sweating out the Christopher Nolan rumors, Danny Boyle’s confirmation turned the #Bond_age_ HQ into a Bacchanalian scene of euphoria last night. This is why you, too, should be excited.
Danny Boyle on the Trainspotting 2 press tour.
Danny Boyle’s a chameleon. The best Bond directors do not insert themselves or their agenda into James Bond. I’d be hard-pressed to find anyone that could pinpoint Boyle’s directorial aesthetic. While that sounds like a backhanded compliment, it’s far from it. Some of the same things could have been said about Stanley Kubrick and he turned out alright. To distill this into neat #Bond_age_ reductionism, Boyle is a more talented Martin Campbell. He’s also rather eccentric in his film choices. He’s directed existential sci-fi (Sunshine), horror (28 Days Later), black-as-night humor (Shallow Grave), and some Bollywood (Slumdog Millionaire). Some have called him erratic, but I’d prefer to call him whimsical. Bond’s a different story. The genre’s already in place. He just has to do what he does best.
Boyle’s way with actors and characters in his films most excites me about his Bond potential. I’ve been beating this dead horse for years, but the best James Bond movies give 007 time and space to be James Bond — to drink, to gamble, to woo, to adjust his tie without anywhere particular to be. If it’s also true that Boyle is working on a script with his Trainspotting co-screenwriter John Hodge, this could be the best of all worlds. A character-fueled director working with the writer responsible for arguably his best film.
Also, allow me to remind you (in case it’d slipped your mind) that this wouldn’t be Danny Boyle’s first Bond adventure.
One more tidbit that should be of foremost concern for any James Bond fan heading into Bond 25 — what of David Arnold? Arnold scored every Bond film from Tomorrow Never Dies through Quantum of Solace when Sam Mendes discharged him in favor of his own personal composer, [Jerry Seinfeld]NEWMAN![/Jerry Seinfeld] — thus representing Sam Mendes’ greatest crime against humanity. So. Do you know who wrote the score for that little Danny Boyle helmed Bond short film? That’s goddamn right. David Arnold.
If David Arnold’s back (and I think we can fully expect it), that’s already the best gift Danny Boyle could have given us 20 months before the curtain drops on Bond 25.
Since this all came from the mouth of Boyle, we’ll have to wait for EON’s official confirmation. In the meantime, I’m more than happy to take Danny Boyle at his word. Because it’s the only news upon which we can hang our hats.
There’s a basic premise with the 24th James Bond movie: you either love it or you hate it.
I am, of course, among that former group, among those who believed the fourth Daniel Craig 007 movie was a brilliant James Bond film and refuse to hear all those who speak negatively about the movie.
It all harkens back to a day in November 2015, where I was in a place I can’t reveal, holding the hand of a woman whose identity I can’t also reveal, and the welcome white dots traversed the black screen, leading to the first *proper* Daniel Craig gun barrel sequence.
I think of Spectre as a proper 50th anniversary Bond film, even more so than Skyfall. The return of 007’s most remarkable nemesis, cleverly portrayed by Christoph Waltz; the elegance of that white tuxedo with the red carnation, a thrilling pre-credits sequence and some humorous gags reminiscent of the Roger Moore era. A lightness had return to the Craig era.
I loved everything people hated. But let’s start with the music department. Thomas Newman provided a soundtrack that touched me to the bones, from the sleuthish “Vauxhall Bridge” to the African vibes of “L’Americain” and the romantic piano in “Madeleine”. In many ways it is very similar to Skyfall, And yes, at first I complained about the score. But as soon as I saw how the music aligned with the images on the big screen, my ear was more eager enough to catch the subtleties and enjoy the brilliant ways Newman’s score combined with the beautiful shots by Hoyte Van Hoytema. The pairing of sound and image in shots of the train through the Moroccan desert rank up there with the work of Phil Méheux, Michael Reed and Ted Moore. They’re some of my favorite visuals in the entire series.
I’d also like to consider the ultra-hated “Writing’s on the Wall” by Sam Smith. The lyrics expressed Bond’s inner sanctuary. Images of the naked actor, intertwined with female bodies and octopus tentacles, appear in the main titles by Daniel Kleinman. The melody mixes drama, romance, weakness and strength – making it unique among the series. The use of the instrumental section of the theme as Bond and Madeleine unleash their passion is second to none!
My only issues with the script were the omission of dialogue that could have helped us understand, for example, how Madeleine had become so important to Bond. Between them there were more actions that words, and words were certainly needed. Compare their conversations to Bond and Vesper in Casino Royale, or Bond and Tracy in On Her Majesty’s Secret Service. Each of those films provided better establishment for their respecitve relationships. Still, Léa Seydoux is a great actress and her talents overcome some of these scriptural deficiencies.
Spectre offered an interesting reworking of the shadow organization for the 21st century. Blofeld tried to achieve world domination in a more subtle way, by controlling the intelligence networks. Even though I loved Silva as a character, he lacked ambition beyond killing an old lady in Skyfall. Here, we have Ernst Stavro Blofeld’s plot tied into Bond’s past and lifted from Ian Fleming’s short story Octopussy. Spectre even borrows a lightened version of 007’s torment at the hands of Colonel Sun in Kingsley Amis’ only Bond novel.
The action scenes were also well played. The gags in the Aston Martin DB10 with the failing gadgets. The thrilling helicopter fight over the Day of the Dead parade. The well-choreographed snow plane crash. The fight with Hinx on the train. All of these scenes brought back images of classic 007.
I also loved the last scene. Craig’s Bond deserved, at least once, the classic triumphalist ending, girl in hand. If he retires from the role, that final image would remain justifiable sign-off for his four-film cycle.
All in all, I consider Spectre the best film from the Craig era and perhaps the best since The World is not Enough. Even though Irecognize the merits of Casino Royale, I can’t help but be thrilled by every frame of Spectre. I felt like a kid in a candy store of Bond delights.
Nicolás Suszczyk was born and lives in Buenos Aires, Argentina. He became a James Bond fan at eight He studies journalism and runs the 007 fan sites The GoldenEye Dossier and Bond En Argentina.
First Bond Movie: GoldenEye on TV, Tomorrow Never Dies on the big screen.
Favourite Bond Actor: Pierce Brosnan
Favourite Bond Girl: Eva Green to marry, Famke Janssen for an occasional fling.
How I discovered #Bond_age_: Discussing Bond with unknown people worldwide.
First, the necessary introduction, for old time’s sake.. This ditty about Spectre marks the 24th essay in a 23-part series about the James Bond cinemas. I encourage everyone to comment and join in the conversation.
Of [In]human #Bond_age_ #24: Spectre and Blofeld, the Villain Bond Can’t Quit
by James David Patrick
The title of this essay came before the essay itself. And of course it was a scene from Brokeback Mountain that initially inspired it. Jack Twist turns to Ennis Del Mar and tells him, “I wish I knew how to quit you.” Recreate that scene with James Bond and Ernst Stavro Blofeld. Let me help.
This is the director’s cut of my original essay about Dr. No. It has been enhanced for your reading pleasure. (Also, welcome #BeyondTheCover blogathonners!)
Of [In]human #Bond_age_ #1: Dr. No and Adaptation: How a Giant Squid Helped Define James Bond
by James David Patrick
Adaptation is a tenuous, often thankless creative endeavor. A screenwriter’s given a pre-existing project, most often a book, and told to adapt a complex, multilayered narrative for the big screen. The result, by nature, is a comparatively brutish, SportsCenter highlight clip reel of the novelist’s original intent. If the screenwriter dares to make innovative choices to streamline the original work, she risks alienating the pre-existing fanbase that catalyzed the adaptation in the first place. Budget limitations, eccentric actors, demanding studio heads also insert themselves into the equation, more often than not further limiting creativity. Screenwriter Charlie Kaufman wrote and directed an entire movie about his tortured inability to adapt Susan Orleans’ The Orchid Thief into a feature film. Kaufman turns his character’s writer’s block into a quasi-thriller that blends fact with fiction and blurs the lines of reality. Charlie Kaufman is also one of only a handful of people in the entire business of moviemaking that would be given the creative freedom to combine adaptation and fabulist memoir in a wide release feature film.
To use a recent example of high-stakes adaptation (that resulted in far less hallucinatory delirium), consider the cinematic choices made at the beginning of the Harry Potter series. Consider how those choices carried on throughout the eight-movie cycle, the design of the Hogwarts castle, the casting choices for primary roles, the score, etc. With only a few exceptions director Christopher Columbus’ stylistic decisions in Harry Potter and the Sorcerer’s Stone remained throughout the seven-film cycle. Even though Harry Potter screenwriters defaulted to J.K. Rowling’s books as narrative blueprints whenever possible, the movies required concrete visual and aural choices to translate a book to the big screen. These are the images the mind’s eye filled in while reading the books. Nobody saw the same Hogwarts or the same Ronald Weasley, no matter how vividly Rowling’s prose conveyed the stuff of her imagination. (more…)