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Re: Definitive Best of...

cp, it's pretty much as you described above- the "real" water cross-fades into the "animated" water and we're plunged (pun intended) into the title sequence.

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Re: Definitive Best of...

I'd rank Blofeld's cat far above Stacey's. While I don't rank most of DAF very highly I think it has the best cat.

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Stacey's cat is a bit of a cheap jumpscare, something that the 80s director did in every movie iirc...and she does drop in during the shower bang scene so pretty meh.
Kinda cute tho.

I never saw the creepy aspect of the cat, but it's definitely interesting it can be perceived that way.

a reasonable rate of return

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Re: Definitive Best of...

"While I don't rank most of DAF very highly I think it has the best cat."

The only category DAF will probably ever win in my opinion...

"Stacey's cat is a bit of a cheap jumpscare, something that the 80s director did in every movie"

Fair enough it is cheap but it made me jump the last time I watched AVTAK somehow...

The cheap jumpscare by a random animal happens in every 80s film. It is a bird (a dove?) in FYEO, a pigeon in OP, a cat in AVTAK, a monkey in TLD, and a pigeon again (I think) in LTK. Pity it doesn't do a double-take, now that would have been really impressive...

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Animal jump-scares was a John Glen trademark, especially pigeons. Only John Woo has done more for doves in action movies  ajb007/biggrin

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I been trying to think how and why an effective precredits-to-credits transition should work.

The precredits should be a concise mini-adventure, and the action setpiece should continually escelate.
Just when you think it cant get more intense it somehow leaps to another level.
Then the action should resolve, like a release of tension, almost orgasmic.

Then there should be an unexpected punchline, either literally as in Goldfinger, or visually like the parachute or the cat, or something so unexpected as our hero drowning.

and here the timing has to work, like a comedian who knows exactly how long it will take for the audience to get the joke and how long they will laugh...

As the surprise of the "punchline"settles in, then they can hit us with the first hook of the main theme, and it has to sound like a proper BondTheme to fulfill that satisfaction.
The twonote brass hit of GF, the twinkling motif in DaF, the descending piano of tSwLM, That Note that introduces the Adele song.

If all these ingredients fall into place, and do so in a stylish and original manner, then when the main theme and credits finally roll I am in my Happy Place.

Last edited by caractacus potts (17th Jun 2020 20:56)

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Re: Definitive Best of...

Title sequence transitions is a interesting topic. I'm quite partial to:
the fighter jet smashing the glass apart in TND
the slow musical intro played over Hamilton's fainting corpse in LALD
the bloodstains turning into a volcanic sunset in YOLT
the gunbarrel blood becoming playing cards in CR

In comparison I don't much care for:

Bond somersaulting, hands clapping and "Fill her up, please" in OP (groan)
Bond simply getting up and leaving at the start of the TWINE titles (legend has it Pierce Brosnan's acting ability did the same)
Bond firing a gun in the desert in Quantum (how generic can you get?)