We are now almost 34 months since the release of NTTD.
The gap between DAD's release and CR's title being revealed and Martin Campbell named as director was 26 months. The gap between DAD's release and DC being announced as the new Bond was almost 35 months.
I certainly don’t like it either, but I think the gap should be put into the context of the chaos and confusion engulfing Hollywood in 2024. Theater viewings haven’t rebounded from the pandemic, and no one knows what will draw audiences, following the collapse of the MCU. Deadpool & Wolverine is the exception that proves the rule. (Combine two popular characters with dozens of cameos and add an intensive, exhausting worldwide PR blitz.) Here’s where things stand:
The old formulas are out the window and execs are trying to see patterns in what’s working. Eon wants to make a billion dollars on its next Bond film. But the successes of 2024 don’t point the way ahead for 007 IMO—unless the next one includes appearances by a score of name actors like Dune 2 and D&W, which isn’t something I want.
Fear always rules this town but it’s more intense now, and it’s not helping Bond fans.
I think this post is spot-on. I also think the gap is part of the marketing strategy for the eventual film. EON understands that many of the big IPs are over saturated and worn out. Well, we Bond fans don’t have to worry about that! When the next Bond film arrives, with a new 007 no less, it’s guaranteed to be an event whether the film is any good or not.
I have actually been wondering if Eon want to keep 007 out of sight for a little while in order to create a bit of hunger, and if IFP's recent slate of spin-offs starring other side MI6 characters is maybe because of that and Eon may potentially not be licensing the character out to star in a new novel (OHiMSS being a special exception for the coronation). There's even word that the comics may have reached the end of their licence too.
Might all just be coincidence of course, but I thought it was interesting.
James Bond and '007' are trademarks owned by MGM/Danjaq and IFP have to licence him from them. You can see the credit in first page or two of any recent Bond continuation novel.
This is correct. But it’s unclear what, if any, control that gives EON over IFP‘s actual operations. That would most likely be defined by the licensing agreement itself. I’m guessing Fleming didn’t give over any level of creative control to EON as part of the arrangement. But perhaps it has been renegotiated over the years. Someone here might know better than me.
No I wouldn't have thought they exercise much in the way of creative control, but they do presumably choose whether to licence or not if/when it comes up for renegotiation, and they wouldn't allow just anything to be done with the trademark, I'm sure. There are probably certain limits IFP have to abide by so as not to destroy the credibility of the character by turning him into a pink hippo or something, and it might be possible that they can specify he's not to be the lead of a novel for the next year or two, who knows.
I took the time to read a thread in a Norwegian women's forum about who should be the next Bond. It was encouraging. They were passionate about it and it was generally much like reading this thread. Silly suggestions about a female JB were quickly shot down.
Thank you. I know the Norwegian female market is much more important than the Indian market or the male North-American market, so I thought you should know. 😁
"Craig and Bond producer Barbara Broccoli have been trying very hard to fund this project, for the better part of two years, and their quest to find money — and perhaps a location — has inevitably led them to Qatari financing. "
"The rumor is that they secured funding by making a deal with the Qataris to get Broccoli to set part of the next Bond film in Doha. The play’s director, Sam Gold, is set to helm the film version of the play. It’s possible this one might start production next year.
If this is true, what does everyone make of a Qatari-set bond film?
"
Lifestyle guide to the products and locations featured in the James Bond films.
If it's true what they say that work hasn't started on Bond26, I question if EON has promised away locations at this stage. But Doha seems to be a hyper-modern and hyper-stylized Arab city, something we haven't seen in a Bond movie before.
Big budget TV shows on pay to view streams are so popular it wouldn't surprise me to see a spin off of sorts.
Personally, I'm not a huge fan of the spin off books/extended universe, so I wouldn't be that fussed about watching a new series, unless it actually featured the character of James Bond centrally (whether young/old/prime). At the same time though I do appreciate they may need to go where the money is..
Babs has said they won’t do a show, but who knows? I’d really only be interested if it was a period-accurate serialization of Fleming’s books. But I can’t see them going that route. As much as I love Fleming’s books—I still re-read a few each year—I doubt the stories would thrill modern audiences without significant changes, and at that point, it’s not what it set out to be.
Amazon are doing a Young Sherlock show, based on the YA book series. The book series was created as a bit of a reaction to the success of the Young Bond books- personally my guess is that Amazon wanted to do a Young Bond series and Eon vetoed it, and so they went to the next best thing of Sherlock. No proof of it, just a suspicion.
I think you're right, and so I don't see the point in spending megabucks making stories which would, ultimately, seem a bit primitive now. Look at Moonraker: there's great bits in there, but it's a guy with a big rocket, Bond has a brief car chase and ends up reprogramming a computer, and that's it. As you say, you can beef it up, but at that point it's not a faithful adaptation anymore.
You could make a big budget Batman film closely adapting the first 1930s Bob Kane comics, but no studio is going to do that; we want a bit more depth.
Exactly. I think depending on the pacing, the tone, the screenwriting, and the acting, you could adapt Fleming directly and make it enjoyable. But what are the chances that Amazon is able to achieve any of that, let alone all of it. Their track record is not great.
You could make it enjoyable to an extent, and the books themselves remain thrilling, but I think people's expectations of an action adventure film are a bit higher now, especially one with James Bond's name on it. Plus you'd be adapting Goldfinger, with a story extremely similar to that of the film we already have, only slightly less exciting and cinematic. Not to mention all the things you'd be missing like Connery, John Barry, Shirley Bassey, Ken Adam, an actual genuine period setting etc. I don't really see the point. We have the BBC radio book adaptations (which do make changes too) and honestly, they're not as good as the films!
We have the books to enjoy, and they're great, but you don't need to see them on a screen to enjoy them.
I still think the very best compromise would be to work with the continuation novels. They did it with Colonel Sun (TWINE, DAD, SP), not to forget the various elements the screenwriters used from the first four John Gardner novels for AVTAK and DAD. It's not a secret Michael Wilson had a big clash with Gardner in the 80s, but I trust in Babs, who's still in contact with IFP.
I deeply think the Horowitz 'trilogy' remains the finest literary material since Fleming's death. Several sequences from Trigger Mortis would be amazing on screen, and With a mind to kill is a genuine masterpiece, with an amazing plot which would be quite relevant considering the current context. Of course, some adjustments would be necessary to make it contemporary, but EON proved with CR06 it was all but impossible.
Horowitz's ability to create twists and excitement is just extraordinary, and having him writing the plot of the next film would be something wonderful imho. After all, he's a screenwriter himself, and that's a point to take into account...
Comments
We are now almost 34 months since the release of NTTD.
The gap between DAD's release and CR's title being revealed and Martin Campbell named as director was 26 months. The gap between DAD's release and DC being announced as the new Bond was almost 35 months.
One month to go.
Incredible.
I certainly don’t like it either, but I think the gap should be put into the context of the chaos and confusion engulfing Hollywood in 2024. Theater viewings haven’t rebounded from the pandemic, and no one knows what will draw audiences, following the collapse of the MCU. Deadpool & Wolverine is the exception that proves the rule. (Combine two popular characters with dozens of cameos and add an intensive, exhausting worldwide PR blitz.) Here’s where things stand:
https://www.boxofficemojo.com/year/world/?ref_=bo_nb_tt_tab
The old formulas are out the window and execs are trying to see patterns in what’s working. Eon wants to make a billion dollars on its next Bond film. But the successes of 2024 don’t point the way ahead for 007 IMO—unless the next one includes appearances by a score of name actors like Dune 2 and D&W, which isn’t something I want.
Fear always rules this town but it’s more intense now, and it’s not helping Bond fans.
I think this post is spot-on. I also think the gap is part of the marketing strategy for the eventual film. EON understands that many of the big IPs are over saturated and worn out. Well, we Bond fans don’t have to worry about that! When the next Bond film arrives, with a new 007 no less, it’s guaranteed to be an event whether the film is any good or not.
I have actually been wondering if Eon want to keep 007 out of sight for a little while in order to create a bit of hunger, and if IFP's recent slate of spin-offs starring other side MI6 characters is maybe because of that and Eon may potentially not be licensing the character out to star in a new novel (OHiMSS being a special exception for the coronation). There's even word that the comics may have reached the end of their licence too.
Might all just be coincidence of course, but I thought it was interesting.
I believe Ian Fleming publications own the book right to Bond, but Eon has half control of the move rights as I understand it.
James Bond and '007' are trademarks owned by MGM/Danjaq and IFP have to licence him from them. You can see the credit in first page or two of any recent Bond continuation novel.
So you're saying Ian Fleming publications couldn't bring forth a new James Bond continuation novel unless Eon gives their approval for licencse first?
This is correct. But it’s unclear what, if any, control that gives EON over IFP‘s actual operations. That would most likely be defined by the licensing agreement itself. I’m guessing Fleming didn’t give over any level of creative control to EON as part of the arrangement. But perhaps it has been renegotiated over the years. Someone here might know better than me.
No I wouldn't have thought they exercise much in the way of creative control, but they do presumably choose whether to licence or not if/when it comes up for renegotiation, and they wouldn't allow just anything to be done with the trademark, I'm sure. There are probably certain limits IFP have to abide by so as not to destroy the credibility of the character by turning him into a pink hippo or something, and it might be possible that they can specify he's not to be the lead of a novel for the next year or two, who knows.
I took the time to read a thread in a Norwegian women's forum about who should be the next Bond. It was encouraging. They were passionate about it and it was generally much like reading this thread. Silly suggestions about a female JB were quickly shot down.
Thank you for your diligence, Number24.
Thank you. I know the Norwegian female market is much more important than the Indian market or the male North-American market, so I thought you should know. 😁
What kind of names were they banding about? do tell do tell!
Idris Elba, Ewan McGreggor, Stellan Skarsgård, Aidan Turner, James Cavill. The usual. One clearly insane woman suggested Stephen Seagal!
What? No mention of Number24? Appalling!!
"Craig and Bond producer Barbara Broccoli have been trying very hard to fund this project, for the better part of two years, and their quest to find money — and perhaps a location — has inevitably led them to Qatari financing. "
"The rumor is that they secured funding by making a deal with the Qataris to get Broccoli to set part of the next Bond film in Doha. The play’s director, Sam Gold, is set to helm the film version of the play. It’s possible this one might start production next year.
If this is true, what does everyone make of a Qatari-set bond film?
"
If it's true what they say that work hasn't started on Bond26, I question if EON has promised away locations at this stage. But Doha seems to be a hyper-modern and hyper-stylized Arab city, something we haven't seen in a Bond movie before.
Wow. I would imagine Doha's appearance in Bond26, if t happened, would be like Shanghai's appearance in Skyfall. Another city with lots of neon.
Doha doesn't do anything for me, just a collection of skyscrapers. it lacks culture of a place like Beirut.
Good point. I think Beirut has more " soul".
Seoul's got even more.
🤣🤣🤣
I know this has nothing to do with James Bond but it appears Harry Potter is going to be rebooted as a TV show:
https://www.teenvogue.com/story/harry-potter-tv-reboot-hbo-everything-you-need-to-know
Is it inevitable that the Bond series will go the same way?
Big budget TV shows on pay to view streams are so popular it wouldn't surprise me to see a spin off of sorts.
Personally, I'm not a huge fan of the spin off books/extended universe, so I wouldn't be that fussed about watching a new series, unless it actually featured the character of James Bond centrally (whether young/old/prime). At the same time though I do appreciate they may need to go where the money is..
Babs has said they won’t do a show, but who knows? I’d really only be interested if it was a period-accurate serialization of Fleming’s books. But I can’t see them going that route. As much as I love Fleming’s books—I still re-read a few each year—I doubt the stories would thrill modern audiences without significant changes, and at that point, it’s not what it set out to be.
Amazon are doing a Young Sherlock show, based on the YA book series. The book series was created as a bit of a reaction to the success of the Young Bond books- personally my guess is that Amazon wanted to do a Young Bond series and Eon vetoed it, and so they went to the next best thing of Sherlock. No proof of it, just a suspicion.
I think you're right, and so I don't see the point in spending megabucks making stories which would, ultimately, seem a bit primitive now. Look at Moonraker: there's great bits in there, but it's a guy with a big rocket, Bond has a brief car chase and ends up reprogramming a computer, and that's it. As you say, you can beef it up, but at that point it's not a faithful adaptation anymore.
You could make a big budget Batman film closely adapting the first 1930s Bob Kane comics, but no studio is going to do that; we want a bit more depth.
Exactly. I think depending on the pacing, the tone, the screenwriting, and the acting, you could adapt Fleming directly and make it enjoyable. But what are the chances that Amazon is able to achieve any of that, let alone all of it. Their track record is not great.
You could make it enjoyable to an extent, and the books themselves remain thrilling, but I think people's expectations of an action adventure film are a bit higher now, especially one with James Bond's name on it. Plus you'd be adapting Goldfinger, with a story extremely similar to that of the film we already have, only slightly less exciting and cinematic. Not to mention all the things you'd be missing like Connery, John Barry, Shirley Bassey, Ken Adam, an actual genuine period setting etc. I don't really see the point. We have the BBC radio book adaptations (which do make changes too) and honestly, they're not as good as the films!
We have the books to enjoy, and they're great, but you don't need to see them on a screen to enjoy them.
I still think the very best compromise would be to work with the continuation novels. They did it with Colonel Sun (TWINE, DAD, SP), not to forget the various elements the screenwriters used from the first four John Gardner novels for AVTAK and DAD. It's not a secret Michael Wilson had a big clash with Gardner in the 80s, but I trust in Babs, who's still in contact with IFP.
I deeply think the Horowitz 'trilogy' remains the finest literary material since Fleming's death. Several sequences from Trigger Mortis would be amazing on screen, and With a mind to kill is a genuine masterpiece, with an amazing plot which would be quite relevant considering the current context. Of course, some adjustments would be necessary to make it contemporary, but EON proved with CR06 it was all but impossible.
Horowitz's ability to create twists and excitement is just extraordinary, and having him writing the plot of the next film would be something wonderful imho. After all, he's a screenwriter himself, and that's a point to take into account...