LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
One of life's great mysteries. At least they now seem to be (mostly) story and 'first draft' guys.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
When P&W write alone, they come up with a classic like DAD. My guess is the miracle is the collaboration with Paul Haggis (Million Dollar Baby), or John Logan (Gladiator).
Sir MilesThe Wrong Side Of The WardrobePosts: 27,749Chief of Staff
Well, P&W are delivering the goods as far as MGW & BB are concerned so I'd say there'll be no sacking. Perhaps a mutual parting of the ways somewhere down the line?
They've sort of had that already...but Eon do return to them - almost like a default setting - when they have script issues...as with SPECTRE...I don't mind their input - but not from the outset, much better when a draft script is already in place....
Fleming was a big fan of Chandler as I am. He loved his prose and how he could phrase it to make it so memorable. I think Fleming also did that to a certain extent but also in his own way of course. I also like Hammett, but Chandler was "my man".
The Maltese Falcon has always been high on my list of films when it comes to adapting a novel to screen and how to film it. I have a picture book that has every main frame of film from every scene in sequence along with the dialogue and it is almost a bible on how to make this type of film.
People can agree to disagree, of course -- but taking your own reasoning here that you gave about The Twilight Zone, if you turned down the volume on the Silva scene, would you still have understood the rat story? Now, what if they had actually shown what was going on with the rats while Silva was telling the story? Would you have gotten it without even having to hear him say it?
Of course not. I would not even know he was telling a story if there was no sound. I would, however, understand that this was Silva, that he is a distinctly unusual character, that he has Bond at his mercy and enjoys his moment of being in control and is being condescending, and that from Craig's reactions Bond doesn't think much of Silva, is pretty angry because of what Silva has done and shows him that he has no fear of him even though he's alone and tied up.
As I stated, you may miss some detail when watching scenes without dialogue, but if it's staged right, you can understand the underlying purpose of it and the point the director is making. The dialogue is as important in a film as the visuals in many scenes, but since film itself is a delicate dance of sound, speech, movement and design, all these elements have to have equal weight to an extent. When some are overemphasized over the other (which is my complaint against many heavy fx films), then I feel like I ate an entire sugar loaded meal full of calories I didn't need.
I just saw Bridge of Spies. It captured my attention from the beginning to the end. It's mostly a dialogue heavy film, but the way it was staged, lit ,shot and edited makes it as compelling to look at as it is to listen to. I wish they made more films like this - I'd go to the cinema a hell of a lot more if they had that quality.
I question the wisdom of using Purvis and Wade when looking for new ideas for Bond26. I see the need for someone in the writer's room who knows Bond well, but the two have written bond movies since 1999. New blood is needed. I think some combination of the writer listed below would make a good Bond script.
One scriptwriter I think would be good for Bond is David Farr. He's British and has written for Spooks, McMafia, The NIght Manager and Hannah.
Another Brit is John-Henry Butterworth who wrote The Edge of Tomorrow, Le Mans '66 and the newest Indiana Jones (🙄).
For a lighter thouch they could hire Jane Goldman who wrote on the two KIngsman movies, two X-Men movies, Stardust and KIck-Ass.
I've just finished season 1 of Killing Eve and based on that I want Phobe Waller-Bridge to have a bigger role in writiing for James Bond.
I'd certainly go with David Farr. The franchise does need new blood and in keeping with the Craig Era, employing a writer who understands character as well as pace and place and narrative would be entirely beneficial. If the producers want a change of direction - a reboot of a reboot - then having a screenplay which relies on Bond's wit and ingenuity yet introduces spy craft [as opposed to killing craft] would certainly offer a new dimension. Farr's screenplays tend to do this. It would not be a huge leap for him to insert the necessary action set pieces as required. Perhaps [shock! horror!] we could have less of that and more interpersonal reaction instead...
Sheridan is a talented writer/director but his thing is the contemporary American West but it surely would be an intriguing choice. Sheridan really has his plate full these days with the extended universe of prequals, sequels and spin-offs spawned from his modern western series, Yellowstone.
If you want to go for an American director, I think James Mangold would be a good choice. Mangold has proven that he can take on big budget action films while earlier in his career he made one of my all time favorite films, Cop Land. In Cop Land, Mangold was able to get an incredible performance out of Sylvester Stallone who held his own with the likes of Robert De Niro, Ray Liotta, and Harvey Keitel. Despite mixed reviews, I actually enjoyed Indiana Jones and the Dial of Destiny which he directed. Unfortunately it may be difficult for EON to get Mangold as he will be directing the next Star Wars theatrical installment, Star Wars: Dawn of the Jedi.
Comments
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
They've sort of had that already...but Eon do return to them - almost like a default setting - when they have script issues...as with SPECTRE...I don't mind their input - but not from the outset, much better when a draft script is already in place....
The Maltese Falcon has always been high on my list of films when it comes to adapting a novel to screen and how to film it. I have a picture book that has every main frame of film from every scene in sequence along with the dialogue and it is almost a bible on how to make this type of film.
Of course not. I would not even know he was telling a story if there was no sound. I would, however, understand that this was Silva, that he is a distinctly unusual character, that he has Bond at his mercy and enjoys his moment of being in control and is being condescending, and that from Craig's reactions Bond doesn't think much of Silva, is pretty angry because of what Silva has done and shows him that he has no fear of him even though he's alone and tied up.
As I stated, you may miss some detail when watching scenes without dialogue, but if it's staged right, you can understand the underlying purpose of it and the point the director is making. The dialogue is as important in a film as the visuals in many scenes, but since film itself is a delicate dance of sound, speech, movement and design, all these elements have to have equal weight to an extent. When some are overemphasized over the other (which is my complaint against many heavy fx films), then I feel like I ate an entire sugar loaded meal full of calories I didn't need.
I just saw Bridge of Spies. It captured my attention from the beginning to the end. It's mostly a dialogue heavy film, but the way it was staged, lit ,shot and edited makes it as compelling to look at as it is to listen to. I wish they made more films like this - I'd go to the cinema a hell of a lot more if they had that quality.
I question the wisdom of using Purvis and Wade when looking for new ideas for Bond26. I see the need for someone in the writer's room who knows Bond well, but the two have written bond movies since 1999. New blood is needed. I think some combination of the writer listed below would make a good Bond script.
Opinions?
Someone who could work both as a writer and director is Taylor Sheridan Hell or high water, Siccaro, Wind River and the TV series Yellowstone.
I'd certainly go with David Farr. The franchise does need new blood and in keeping with the Craig Era, employing a writer who understands character as well as pace and place and narrative would be entirely beneficial. If the producers want a change of direction - a reboot of a reboot - then having a screenplay which relies on Bond's wit and ingenuity yet introduces spy craft [as opposed to killing craft] would certainly offer a new dimension. Farr's screenplays tend to do this. It would not be a huge leap for him to insert the necessary action set pieces as required. Perhaps [shock! horror!] we could have less of that and more interpersonal reaction instead...
I wouldn't mind Jed Mercurio the guy who penned Line of Duty maybe as a collaborative effort .
Sheridan is a talented writer/director but his thing is the contemporary American West but it surely would be an intriguing choice. Sheridan really has his plate full these days with the extended universe of prequals, sequels and spin-offs spawned from his modern western series, Yellowstone.
If you want to go for an American director, I think James Mangold would be a good choice. Mangold has proven that he can take on big budget action films while earlier in his career he made one of my all time favorite films, Cop Land. In Cop Land, Mangold was able to get an incredible performance out of Sylvester Stallone who held his own with the likes of Robert De Niro, Ray Liotta, and Harvey Keitel. Despite mixed reviews, I actually enjoyed Indiana Jones and the Dial of Destiny which he directed. Unfortunately it may be difficult for EON to get Mangold as he will be directing the next Star Wars theatrical installment, Star Wars: Dawn of the Jedi.
Chosing a director is a different conversation, but Mangfold has some good movies under his belt. Personally I prefer British directors for Bond.