The editing of the Car chase in QOS ? (Playing Devil's Advocate)
Marc Forster said he wanted an opening scene, like being shot from a gun, and boy did he succeed.
After the establishing shot, moving across the lake.Our senses are them bombarded with a symphony
of action, all edited together with some very quick cutting techniques.
As some of the team from the Bourne films were being used, it's no wonder that these modern
editing techniques would be used in this contemporary manner.
Many action films use the four second cut. In that, the camera only stays on one piece of action for
four seconds before switching to another. With QOS, the envelope was pushed to the limit with some
cuts of only two seconds.
Many have said this almost frantic editing style was used to give the viewer a sense of what Bond
is experiencing. Which I think works well, bullets are flying everywhere, with Bond being attacked from
all sides and after losing his door. Bond is totally exposed with no protection ! any stray bullet could
kill him.
So the director successfully introduces the viewer to a small taste of what it's like to be Bond. The
danger, the almost not knowing what is happening but still having to make split second decisions. For
the viewer, there's hardly time to take a breath.
Any comments on the PTS of QOS ?
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
I'm afraid I can't play on this one TP as I genuinely love the car chase and agree completely with your comments -{
If you love this terrible mistake, you're the most qualified to play!
I am not able to play. I can't really agree with a lot of what TP says. I completely understand what the editing is trying to do. The frantic editing is supposed to make us feel like we're in Bond's place, but when the film starts out like this I have no point of reference. I have no idea what's going on, whereas Bond firmly knows that he's in a car being chased by some other cars. Thus, the whole scene is meaningless to me.
The one thing I absolutely adore about the car chase - the editing of the first few shots, with the close ups of the car. And the fast editing works in a way, I guess, to give you a POV of what it would be like to be in that scene, you wouldn't have time to think or react.
Attempting to put me inside Bond's head during an action sequence isn't what I go to a Bond film to experience. If I wanted that, I'd play a video game. A film to me is a well designed, crafted piece of art. During an action sequence, I want to see it played out in front of me as if I were watching it from a distance. Cutting to close shots of Bond and the villains to show their reactions or physical action is fine as long as it's not done too much or too briefly. I don't want my eyes strobing or my stomach getting queasy - I don't need that much involvement, thank you. What sets the Bond series apart from other action films is a sense of elegance in the way they are designed and composed. If they are shot and edited in the way QOS was, it loses this to a large degree IMO and ends up looking like any other frenetic action film.
+ 1 - one of the best action sequences in the DC movies and with the greatest piece of action music since John Barry: David Arnold's "Time to get out". -{
The traditional approach to a car chase is to at least use a few overwiev shots and stay on it several secounds to give the viewer chance to understand the situation and the georaphy of it. Thankfully Foster avoids this. Instead he gives the viewer a confused and jumbled experience - why should we see and understand the situation when even Bond can't? Dierctors should use the same approach more often, especially in the love scenes. By using close-ups to give the viewer the same experience as Bond and not show wide shots of the room as they usually do, the audience can feel what Bond feels in the moment.
The traditional approach to a car chase is to at least use a few overwiev shots and stay on it several secounds to give the viewer chance to understand the situation and the georaphy of it. Thankfully Foster avoids this. Instead he gives the viewer a confused and jumbled experience - why should we see and understand the situation when even Bond can't? Dierctors should use the same approach more often, especially in the love scenes. By using close-ups to give the viewer the same experience as Bond and not show wide shots of the room as they usually do, the audience can feel what Bond feels in the moment.
But it still needs an establishing shot. I'm sure Bond wasn't confused when he sat down in his car. Bond has more context than we did.
Probably not confused, but if he'd just bundled Mr White - The Pale King - into the boot of his car and was being chased / fired at by two assailants, he would probably be just as disoriented as we are...
Todays topic ....
"Is "Writing's on the wall " one of the Best theme songs ?
On first hearing WOTW, I really did not like it, but as I try and love everthing Bond related, I sat down
and played it several times. Listening to the glorious arrangements evoked memories of many superb
Bond themes. Of the past, especially the opening of Thunderball.
Sam Smith's voice seems to irk some but I think his emotion rendition is very moving. Perfectly
matching the sentiment of the lyrics. As watching spectre you see that Bond does risk it all, at the
end making the choice of rejecting revenge for happiness.
So unlike some tagged on themes, WOTW actually uses the sub theme of the film as its emotional
key.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Todays topic ....
"Is "Writing's on the wall " one of the Best theme songs ?
On first hearing WOTW, I really did not like it, but as I try and love everthing Bond related, I sat down
and played it several times. Listening to the glorious arrangements evoked memories of many superb
Bond themes. Of the past, especially the opening of Thunderball.
Sam Smith's voice seems to irk some but I think his emotion rendition is very moving. Perfectly
matching the sentiment of the lyrics. As watching spectre you see that Bond does risk it all, at the
end making the choice of rejecting revenge for happiness.
So unlike some tagged on themes, WOTW actually uses the sub theme of the film as its emotional
key.
This whole Polyanna thang you got goin on must stop! Defending the indefensible is one thing, but this is truly beyond the pale! It's a third rate poor pastiche and I suspect that you might be telling porkies in your defence of it. If not, seek professional help while there is still time (oh and I'd consider upping the meds dear chap)
Of that of which we cannot speak we must pass over in silence- Ludwig Wittgenstein.
Todays topic ....
"Is "Writing's on the wall " one of the Best theme songs ?
On first hearing WOTW, I really did not like it, but as I try and love everthing Bond related, I sat down
and played it several times. Listening to the glorious arrangements evoked memories of many superb
Bond themes. Of the past, especially the opening of Thunderball.
Sam Smith's voice seems to irk some but I think his emotion rendition is very moving. Perfectly
matching the sentiment of the lyrics. As watching spectre you see that Bond does risk it all, at the
end making the choice of rejecting revenge for happiness.
So unlike some tagged on themes, WOTW actually uses the sub theme of the film as its emotional
key.
This whole Polyanna thang you got goin on must stop! Defending the indefensible is one thing, but this is truly beyond the pale! It's a third rate poor pastiche and I suspect that you might be telling porkies in your defence of it. If not, seek professional help while there is still time (oh and I'd consider upping the meds dear chap)
Just wondering zaphod99, what do the letters mean that you always post above quotes? I've never seen anyone else do that.
After a spell of making Bond films using most of the Book from which the
Title came. ( YOLT being the exception) with DAF they totally reformatted
The series. Setting up the basically new template for the films that followed.
Much lighter in tone, with a bigger emphasis on comedy and the start of
Outlandish stunts creeping in.
So in many ways DAF should be praised for giving the series a much needed
Change in direction for the 70s. In fact with it's introduction of " stupid" cops,
and car chases, it basically inspired many other car chase movies of the 70s.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Madonna should not have played Verity. As another much more talented
Actor could have brought much more variety and sex appeal to the role. I
am of course talking of Michael G Wilson.
Who can forget his" Man reading paper in Hotel lobby" or "Bloke talking to
Denbigh". I can't help feel he would have welcomed the chance to stretch
Himself, as well as get dressed in all that leather gear.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
After a spell of making Bond films using most of the Book from which the
Title came. ( YOLT being the exception) with DAF they totally reformatted
The series. Setting up the basically new template for the films that followed.
Much lighter in tone, with a bigger emphasis on comedy and the start of
Outlandish stunts creeping in.
So in many ways DAF should be praised for giving the series a much needed
Change in direction for the 70s. In fact with it's introduction of " stupid" cops,
and car chases, it basically inspired many other car chase movies of the 70s.
Well put. DAF not my favourite but did pave the way for the hugely successful (commercially at least) 70's Bond movies. It's influence could be felt right up to the Leathal Weapon series in the 80's. Also must not forget that it featured two of the series highlights in Plenty O'Toole :x
Of that of which we cannot speak we must pass over in silence- Ludwig Wittgenstein.
Comments
Marc Forster said he wanted an opening scene, like being shot from a gun, and boy did he succeed.
After the establishing shot, moving across the lake.Our senses are them bombarded with a symphony
of action, all edited together with some very quick cutting techniques.
As some of the team from the Bourne films were being used, it's no wonder that these modern
editing techniques would be used in this contemporary manner.
Many action films use the four second cut. In that, the camera only stays on one piece of action for
four seconds before switching to another. With QOS, the envelope was pushed to the limit with some
cuts of only two seconds.
Many have said this almost frantic editing style was used to give the viewer a sense of what Bond
is experiencing. Which I think works well, bullets are flying everywhere, with Bond being attacked from
all sides and after losing his door. Bond is totally exposed with no protection ! any stray bullet could
kill him.
So the director successfully introduces the viewer to a small taste of what it's like to be Bond. The
danger, the almost not knowing what is happening but still having to make split second decisions. For
the viewer, there's hardly time to take a breath.
Any comments on the PTS of QOS ?
Why not for fun, as that's all this thread is, Slag it off for being so bad ?
If you love this terrible mistake, you're the most qualified to play!
I am not able to play. I can't really agree with a lot of what TP says. I completely understand what the editing is trying to do. The frantic editing is supposed to make us feel like we're in Bond's place, but when the film starts out like this I have no point of reference. I have no idea what's going on, whereas Bond firmly knows that he's in a car being chased by some other cars. Thus, the whole scene is meaningless to me.
chase. Very stylish and visually strong.
Yes - it's perfect as it is -{
+ 1 - one of the best action sequences in the DC movies and with the greatest piece of action music since John Barry: David Arnold's "Time to get out". -{
But it still needs an establishing shot. I'm sure Bond wasn't confused when he sat down in his car. Bond has more context than we did.
"Is "Writing's on the wall " one of the Best theme songs ?
On first hearing WOTW, I really did not like it, but as I try and love everthing Bond related, I sat down
and played it several times. Listening to the glorious arrangements evoked memories of many superb
Bond themes. Of the past, especially the opening of Thunderball.
Sam Smith's voice seems to irk some but I think his emotion rendition is very moving. Perfectly
matching the sentiment of the lyrics. As watching spectre you see that Bond does risk it all, at the
end making the choice of rejecting revenge for happiness.
So unlike some tagged on themes, WOTW actually uses the sub theme of the film as its emotional
key.
Nope, the competition for that is too fierce.
Is it one of the worst?
Nope, the competition's too fierce for that too!
This whole Polyanna thang you got goin on must stop! Defending the indefensible is one thing, but this is truly beyond the pale! It's a third rate poor pastiche and I suspect that you might be telling porkies in your defence of it. If not, seek professional help while there is still time (oh and I'd consider upping the meds dear chap)
Just wondering zaphod99, what do the letters mean that you always post above quotes? I've never seen anyone else do that.
On the train in Casino Royale, the exchange:
"Rolex?"
"Omega."
"Beautiful."
As she utters the last line you can see that Eva Green is doing everything she can to avoid cracking up.
After a spell of making Bond films using most of the Book from which the
Title came. ( YOLT being the exception) with DAF they totally reformatted
The series. Setting up the basically new template for the films that followed.
Much lighter in tone, with a bigger emphasis on comedy and the start of
Outlandish stunts creeping in.
So in many ways DAF should be praised for giving the series a much needed
Change in direction for the 70s. In fact with it's introduction of " stupid" cops,
and car chases, it basically inspired many other car chase movies of the 70s.
Actor could have brought much more variety and sex appeal to the role. I
am of course talking of Michael G Wilson.
Who can forget his" Man reading paper in Hotel lobby" or "Bloke talking to
Denbigh". I can't help feel he would have welcomed the chance to stretch
Himself, as well as get dressed in all that leather gear.
Well put. DAF not my favourite but did pave the way for the hugely successful (commercially at least) 70's Bond movies. It's influence could be felt right up to the Leathal Weapon series in the 80's. Also must not forget that it featured two of the series highlights in Plenty O'Toole :x