Neal Purvis And Robert Wade Turn In 'Bond 22' Script
Qwerty
New York, USAPosts: 73MI6 Agent
Neal Purvis And Robert Wade Turn In 'Bond 22' Script
http://commanderbond.net/article/4229
Their new project sounds somewhat interesting as well. I wonder if we'll definitely see Paul Haggis back again for rewrites on Bond 22.
http://commanderbond.net/article/4229
Their new project sounds somewhat interesting as well. I wonder if we'll definitely see Paul Haggis back again for rewrites on Bond 22.
~ Nobody Knows Me Like You Know Me ~
Comments
I'm sure they (EON) could find talent here...
I'm glad to hear this; it indicates forward momentum....
And, as a writer, I'd give anything to see what passes for a first draft with Eon---at least, to the extent that one receives payment for it...!
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
As for Bond 22, the earlier P & W pump out a first draft, the earlier someone else can get around to editing it. :v
-Roger Moore
The producers took quite a gamble with Casino Royale (the re-boot, Daniel Craig) that paid off handsomely both critically and commercially. So I would expect them to maintain the more serious, character-driven vibe of CR, perhaps with some minor alterations. And considering Bond 22 is a direct sequel to CR, it would not make any sense if radical alterations were made.
I mean, it seems odd that the same people responsible for writing DAD could also do CR. Are they given an outline of plot and set pieces and told 'we are doing a serious Bond this time'. Or do they create the script entirely themselves and just submit it.
What do you think?
I suspect Barbara B and Michael Wilson pretty much tell P&W in what direction they want the film to go. P&W then have to deliver a script that lives up to their expectations. Or down to them, in the case of DAD.
I agree John, in fact Wilson has stated their plan for DAD was to celebrate the 40 years of Bond and for CR their plan was to go in another direction which P&W did. I don't think P&W deserve the criticism they get. I think they have delivered some pretty good films.
I also agree.Purvis and Wade have given their employers exactly what their employers have requested.As screenwriters, they don't enjoy the luxury of being able to tell Eon what will be in the next movie prior to discussing that with the producers.And P&W aren't in a position to determine the overall direction or style of any of the Bond films.Instead,their role is to shape the story and provide scenes and dialogue.That's all.If the general public finds some of P&W's 007 films to be less creatively successful than others, then,in all fairness, the responsibilty for that situation really rests with Michael Wilson and Barbara Broccoli.As the Bond producers, it is they who ultimately okay the contents of each screenplay, and it is they who decide to make each film.Also,as matter of course,in general terms,screenplays are usually rewritten--and often by people other than the individuals who originated them.This is usually not meant to be a reflection on the writers who authored the initial material,but is instead an attempt at having the material looked at by more objective eyes.Additionally,successful screenwriters are not always available to do rewrites because they're usually working on more than one project.
It's an extremely rare instance when a screenplay is filmed without ever undergoing changes of any kind.Such exceptions only happen when noted writers are able(because of their fame within the industry)to obtain written legal guarantees from a film's producers that nothing of theirs will ever be altered during the course of filming.
If Wilson and Broccoli can take the credit for their successes, then surely they can also do the same for their relative failures.The Bond films have always been producer-driven films.By contrast,the voices of the actors,directors and screenwriters are not as important.These movies have always been rewritten--sometimes on the spur of the moment,in order to accomodate a producer's ideas,as with Diamonds Are Forever for example,which was reportedly rewritten extensively in order to not only turn it into a sequel to OHMSS but also to turn it into a farce incorporating--among other things-- Cubby Broccoli's suggestion that the film include a Howard Hughes-like character within the storyline.And the contents of the screenplay for The Spy Who Loved Me were contributed by at least eight different writers,before Eon was finally satisfied enough to turn that raw material over to Christopher Wood for a final draft.
Cubby Broccoli used to claim that everyone at Eon had a say in deciding on the final contents of each movie Eon made--in retrospect,maybe that wasn't always such a good idea...
@merseytart
I can see some of this relating to P&W, be interesting to see if EON hires a Haggis-type to rewrite, who directs, etc. I can easily agree that TWINE and DAD are hard to judge.
Bond’s Beretta
The Handguns of Ian Fleming's James Bond
As for casting, I'll disagree. I think that since these producers took over theres only been a few miscastings - primarily Jinx, but it wouldnt be fair to blame all her problems on Berry.
TND and DAD however, are usally hailed as poor entries.
And to blueman's post about voodoo, I KNEW that Baron Samedi (haunting me since the end of Goldeneye 007) had to have been behind the success of Casino Royale.