Pre-title sequence What should it's tone be
#1
Posted 06 January 2006 - 02:30 AM
#2
Posted 06 January 2006 - 02:59 AM
There has been some speculation, mind you from tid bits of info shared from various sources, that an early sequenece in the film may have Bond particpating in a Royal Naval underwater demolition exercise. This could be pre-007 days or not. This is pure speculation, and as far as I know no one of authority has said this. This would fit with the plot and is in line with what Lazenby suggests.
#3
Posted 08 January 2006 - 06:02 AM
This is the part I wouldn't show you. The part where you say "I don't even know you". This is your cue. Be glad that it's through...
#4
Posted 08 January 2006 - 07:58 AM
Lazenby, on 5 January 2006 - 21:30, said:
In a word, yes. Whatever they do or do not feature in it will be up to them.
#5
Posted 08 January 2006 - 05:29 PM
It should be moody like Goldeneye's a little retro and have plenty of casino references...other than that I don't know.

"Impatiently Bond lit a cigarette, pulled his shoulders out of their slouch and slammed the mawkish memories back into their long-closed file. Today he was a grown up, a man with years of dirty, dangerous memories - a spy."
#6
Posted 08 January 2006 - 11:07 PM
In terms of tone, I'd have Bond do something a little bit reckless in the course of the pretitle sequence (to show his lack of experience), which almost leads to disaster. However, he manages to save the day in the end, either through skill, or perhaps even sheer luck. At the very end, his commanding officer (maybe M) acknowledges his performance, but criticises his actions too, warning him that he could get into real trouble one day. Just to get a little foreshadowing in.
I love you James, 'cause you're rugged and tough, you gave me the world, but the world's not enough...
#7
Posted 09 January 2006 - 06:18 PM
#8
Posted 09 January 2006 - 06:32 PM
Johnboy007, on 9 January 2006 - 13:18, said:
I agree. Also, isn't there a sequence like that that is mentioned in the CR novel? Something about a Japenese agent that Bond is assigned to eliminate? It's been a while since I've read the novel, so I can't remember if that's where I got that from or not. If it's in the novel, then I think that they should use that as the PTS.
But, whatever they do for the PTS, the tone of that sequence should be very, very dark.
#9
Posted 09 January 2006 - 07:23 PM
tdalton, on 9 January 2006 - 18:32, said:
But, whatever they do for the PTS, the tone of that sequence should be very, very dark.

I would disagree there. I think the tone of the PTS should be ominous, but not, as you say, very very dark. For a start, it wouldn't be true to the book, the first act of which certainly isn't all doom and gloom. Besides, if you have the film relentlessly dark right off the bat, it'll detract from events later in the story.
When I first read the novel, I knew there was a torture scene of some sort, but that was it. And I was quite horrified reading that for the first time! I'd read other Bond novels before and the early part of the book wasn't significantly darker than other books, IMO. Thus, it made the torture scene much more shocking, and effective, and really gets across Le Chiffre's point about Bond having previously been 'playing red indians.' If the first part of the film was really dark, I would worry that it would just make the torture scene feel a bit forced, or at the least, diminish its impact somewhat (I'm talking relatively here!).
So yes, I say make the PTS and the first part of the film darker than normal, but not too much. They're not making a horror film, after all!
I love you James, 'cause you're rugged and tough, you gave me the world, but the world's not enough...
#10
Posted 09 January 2006 - 08:15 PM
Flash1087, on 8 January 2006 - 01:02, said:

Great idea. Maybe we can even be finally given a train fight sequence once again, and what more fantastic (and novel) a place than in the pre-titles? Possibly have Bond on a routine mission which goes horribly haywire, whereupon he is forced to resort to his wits and natural resources to right the wrong, ultimately making preemptive use of his licence to kill.
#11
Posted 09 January 2006 - 08:23 PM
Although, something just occured to me... what if they try to go even further back for the PTS? What if they try to incorporate Bond's youth... like, his parents' death, for example. Or maybe they'll try to interlace the entire film with character building flashbacks?

"Merci, Elvis."
#12
Posted 09 January 2006 - 09:38 PM
Judo chop, on 9 January 2006 - 20:23, said:
Although, something just occured to me... what if they try to go even further back for the PTS? What if they try to incorporate Bond's youth... like, his parents' death, for example. Or maybe they'll try to interlace the entire film with character building flashbacks?

i think seeing bond as a boy would be interesting, but i also think they should hold off on that untill bond 22 or 23. theyre already calling it "bond begins" so any scenes that remind viewers of the newest batman film should be avoided. a clip of bond's parents dying in the climbing accident would do just that.
#13
Posted 09 January 2006 - 09:43 PM

"Merci, Elvis."
#14
Posted 09 January 2006 - 09:43 PM
#15
Posted 09 January 2006 - 09:45 PM
The PTS should be one of the assasinations that earned Bond his double 00.
#16
Posted 09 January 2006 - 09:50 PM
Bondesque, on 9 January 2006 - 16:45, said:
Or the original Burton Batman, for that matter. After giving it some thought, I don't really care whether it draws comparisons to Batman Begins or any other contemporary movie; I'm saying it's a bad idea on its own merit. I don't want to see young Bond be done now, or ever.

"Merci, Elvis."
#17
Posted 09 January 2006 - 09:56 PM
Bondesque, on 9 January 2006 - 16:45, said:
I don't want to see Bond as a boy either. Honestly, I don't think that they should go any further into the past than Bond's missions in which he earns his 00 number.
#18
Posted 09 January 2006 - 11:00 PM

Member, Society for the Prevention of Cruelty to Timothy Dalton, Daniel Craig, The World is not Enough, For Your Eyes Only, Goldeneye, Famke Janssen, Licence to Kill, Sophie Marceau, Madonna
"I love a drive in the country. Don't you...?"
#20
Posted 11 January 2006 - 09:42 AM
Speak now or forever hold your piece.
I think he got the point.
Looks like he came to a dead end.
He had lots of guts!
Yes, considerably.
#21
Posted 11 January 2006 - 10:21 AM
This post has been edited by Hitchcock Bond: 12 January 2006 - 08:55 AM
#22
Posted 11 January 2006 - 09:41 PM
#23
Posted 12 January 2006 - 01:09 PM
Agent 76, on 9 January 2006 - 23:00, said:

I think we all tend to get a bit overly precious of Fleming's work. Not only does the double-O thing make no sense at all - only once you have killed someone in cold blood do you get permission to kill someone in cold blood - but Fleming forgot all about the two killings Bond mentions to Vesper in CR. In FRWL, we are specifically told that Bond has 'never killed in cold blood'.
Perhaps Bond was just trying to impress Vesper by pretending he had killed people in cold blood - much as Fleming hinted he once had to friends (though the story changed)?
Neenah neenah...
#24
Posted 12 January 2006 - 01:11 PM
spynovelfan, on 12 January 2006 - 08:09, said:
Perhaps Bond was just trying to impress Vesper by pretending he had killed people in cold blood - much as Fleming hinted he once had to friends (though the story changed)?
Neenah neenah...

Cue Vick Flick's guitar and the distant sound of sirens.

'It reads better than it lives.'
#25
Posted 12 January 2006 - 01:34 PM
Hitchcock Bond, on 11 January 2006 - 10:21, said:

I think something along those lines would fit with Campbell's idea of him not being the Bond we know and love until the end: he isn't 007 until he defeats Le Chiffre because either 1) MI6 give him the number because he has passed a test by defeating Le Chiffre or 2) the death of Vesper makes Bond want tow ork for MI6 after all to avenge her death by taking on nutcases intent on world domination.
#26
Posted 12 January 2006 - 02:15 PM
#27
Posted 12 January 2006 - 02:53 PM
#28
Posted 12 January 2006 - 03:18 PM
ROCKEFELLER PLAZA, NEW YORK.
A tall, dark-haired man is methodically and rapidly photographing papers with a miniature camera in a small, sparse office - a light shines on the papers, but he stands in darkness. A variation of the James Bond theme pulses menacingly in the background.
Suddenly the man looks up. He can hear footsteps. Someone is running down the corridor immediately outside the office. He immediately places the papers back in their dossier and straightens a couple of things on the desk, then removes a pistol from his pocket and screws on a silencer. As he does, the music starts to crescendo, and we see several close-ups: a bead of sweat on the man's forehead; him chewing his lip; a shoulder of his jacket - he is in evening clothes. Finally, we see his eyes: they are Oriental. The camera leaps inside the man and we travel, in less than a second, through an abstract landscape of bone and gristle and matter, until we burst, with the music, through his hand and into the familiar shot of JAMES BOND at the end of a gun-barrel. Bond shoots back, and blood starts to ooze down the 'screen'.
The titles begin...
#29
Posted 12 January 2006 - 03:19 PM
#30
Posted 12 January 2006 - 03:37 PM

Member, Society for the Prevention of Cruelty to Timothy Dalton, Daniel Craig, The World is not Enough, For Your Eyes Only, Goldeneye, Famke Janssen, Licence to Kill, Sophie Marceau, Madonna
"I love a drive in the country. Don't you...?"

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