285 replies to this topic

[sharpshooter]

My favourite: The glorius sunset on the beach behind the palm tree in GE. The ocean calmly lapping onto the beach where Bond broods the demise of his former friend, and the black rocks jutting from there. Such a great shot. Is tropical and cool, yet has an emotional edge to it revealing Bond's character. I believe in this scene Brosnan was at his most Fleming looking.

Notable mentions: The helicopter approach from OHMSS, The sweeping camera work on the crane in CR, The opening car chase of GE has some great shots, Dalton's reveal. I could go on..

[Blabbermouth]

My favorite is from Live and Let Die. It occurs during the boat chase, where Adam has just started to get some speed into the boat he stole, at the same time the music starts and you see from above the twisting river and how he is gaining on Bond. Excellent shot complimented very well by the music.

Edited by Blabbermouth, 05 February 2007 - 01:20 PM.

[Zorin Industries]

Though it's one of the poorest entries in the series, I have always liked the shot in THE WORLD IS NOT ENOUGH just as BOND and ELEKTRA have jumped from the helicopter onto the snowy mountain top. As they begin their descent, the lens steadicams around them in an almost 360 degree revolution that logistically and visually is quite stunning.

And ANY Piz Gloria shot from OHMSS is beautiful as most of the evening dusks across the Swiss alpine terrain were shot for real giving the whole film a visual tone rarely achieved again.

Edited by Zorin Industries, 05 February 2007 - 01:29 PM.

[jimbo bond 007]

I agree with the OHMSS casino shot - classic.

One of my favourite shots is in The Spy Who Loved Me when Roger Moore is looking for his contact Fekkesh. He steps through a corridor and you see a silhouette of Bond with a mosque behind him in the background and the glorious sunshine of north Africa. It just seems to sum up the location so well.

Also the scenes Johnny Jordon did in OHMSS when he follows the skiers down over the mountian from high above.

[Ricjac]

From

[erniecureo]

[quote]No one has yet mentioned any camera shots from

[Vauxhall]

My clear favourite has already been mentioned, but it's the scene in GOLDENEYE when Bond and Natalya are sitting on the Caribbean beach at sunset. Just beautiful, and inspires one to immediately fly out to a desert island!!

Also enjoyed the sweeping view over Lake Como to see Mr White's villa at the end of CASINO ROYALE, and the way it faded in. Amazing scenery helps, but I suppose the art is making the most of it.

Those are the two that immediately spring to mind.

[RedKelly]

Mine would have to be in TMWTGG when their aboard the ship and everything is at an angle even the bar.

[sharpshooter]

To add to what I have already listed, I simply can not forget to list one of my favourite settings in a Bond film.

The misty graveyard of soviet communist statues. The camera angles there are superb. One of the best is Alec's reveal from the misty darkness. Truly mysterious, blankets of fog, shadows and to help the peice even more a haunting score from Serra.

[[dark]]

Ooo, great topic.

Probably my all-time favourite (though many would argue an unusual choice):

Moonraker: the shot of the screaming Drax space marine drifting speedily towards the sun. Spectacular, gorgeous and haunting.

Runners-up:

Casino Royale: the shower scene shot. It says so much about the characters in just a single shot. Also, just about every shot in the pre-titles sequence.

[film=99]On Her Majesty

[dodge]

This is evolving rapidly into one of the most scintillating threads on this here site.

And some of you are sending me back to films that I wrote off too quickly perhaps...glories that I may have missed.

I could never have guessed that I'd want to rewatch one of my least favorite Moores: LALD. But, thank you Blabbermouth, I will.

[Zorin Industries]

Alec Mills photography in THE LIVING DAYLIGHTS when the mujahideen are leaving with their silhouettes against the morning sun combined with John Barry's score - itself always a factor in good moments of cinema.

[quote name='[dark]' post='697980' date='6 February 2007 - 12:29']Ooo, great topic.

Probably my all-time favourite:

Moonraker: the shot of the screaming Drax space marine drifting speedily towards the sun. Absolutely gorgeous.

Runners-up:

Casino Royale: the shower scene shot. It says so much about the characters in just a single shot. Also, just about every shot in the pre-titles sequence.

[film=99]On Her Majesty

Edited by Zorin Industries, 06 February 2007 - 03:42 PM.

[dee-bee-five]

The rooftop in YOLT, no question. Even on my Archos 604 screen it looks awesome.

My clear favourite has already been mentioned, but it's the scene in GOLDENEYE when Bond and Natalya are sitting on the Caribbean beach at sunset. Just beautiful, and inspires one to immediately fly out to a desert island!!

I love that, too. The photography, the performances and the dialogue all combine to make a stunning scene that just screams "Bond!" to me. Inexplicably, it gets knocked quite a bit on CBN. But, then, some people have no soul...

Edited by dee-bee-five, 06 February 2007 - 04:25 PM.

[Zorin Industries]

The rooftop in YOLT, no question. Even on my Archos 604 screen it looks awesome.

My clear favourite has already been mentioned, but it's the scene in GOLDENEYE when Bond and Natalya are sitting on the Caribbean beach at sunset. Just beautiful, and inspires one to immediately fly out to a desert island!!

I love that, too. The photography, the performances and the dialogue all combine to make a stunning scene that just screams "Bond!" to me. Inexplicably, it gets knocked quite a bit on CBN. But, then, some people have no soul...

It's so filtered though. Film school directors would get told off for a scene like that...but - you're right - I probably have no soul...

[Simon]

I'm just here to reiterate what has already been said, most predominantly by Zorin Industries.

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

And the sunrise shot of the horse riders in TLD.

Totally agree with all the funny filtering effects in the GE beach shot - to my mind ruined it.

And also, I too was going to highlight the composite shot of the OHMSS Casino scene.

So, nothing new here then folks.

Back to the 'Who's going to be the Bond girl for Bond 25?' thread.

[dee-bee-five]

I'm just here to reiterate what has already been said, most predominantly by Zorin Industries.

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

Ah, but some of us don't think TWINE DID ever lose its way. Speaking pesonally, I believe it to be, currently, the most underrated Bond film.

[Zorin Industries]

I'm just here to reiterate what has already been said, most predominantly by Zorin Industries.

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

And the sunrise shot of the horse riders in TLD.

Totally agree with all the funny filtering effects in the GE beach shot - to my mind ruined it.

And also, I too was going to highlight the composite shot of the OHMSS Casino scene.

So, nothing new here then folks.

Back to the 'Who's going to be the Bond girl for Bond 25?' thread.

A man after my own cynicism! At last! Just when I thought I couldn't defend exactly why Rosie O'Donnell would be wrong for CHRISTMAS JONES' NIECE in BOND 25 someone comes along and tells me I don't have to!! Thank you Simon!

[Simon]

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

Ah, but some of us don't think TWINE DID ever lose its way. Speaking personally, I believe it to be, currently, the most underrated Bond film.

I too think it is underrated. This may come as a surprise but really I do.

If we are to rate it along side a freshly squeezed turd, or perhaps a slab of cheese left to putrify in the midday Sahara sun, or even a newly released sulphur bubble from the jurassic period, then yes, it is vastly underrated and perhaps should require a revisiting.

Is this what you meant, per chance?

[00Twelve]

On viewing it again recently, I have to admit that there was some creative and effective camera work in Dr. No that never really showed up again in Young's other Bond films (as much as I truly love FRWL).

Some of my favorite shots in this vein include:
- Sylvia putting in foreground as Bond climactically bursts in
- Closeup on Bond's face as the spider crawls, and the infamous plate shots (creative idea, at least!)
- The shot of the ceiling fan as the tasteful wink that Bond and Ms. Taro are having a very relaxed time.
- The upward shot of Bond inching, then falling, down the shaft on the "obstacle course."
- Dr. No's hands desperately trying to grip the beam as he slides into the boiling water
- The POV shot of Bond & Honey's boat being left behind

[SecretAgent007]

FRWL: When Bond fires the flare gun and the camera swings around as he aims
GE: Onatop getting off the train
FYEO: Establishing shot of Bond and Melina at the lookout in Greece
TLD: right after Bond's reveal, when he starts moving
CR: Bathroom scene, very moody, well lit


In the pool scene of OHMSS, when it fades to night, you can also still see shadowing of people that were in the daylight part of the shot. Look closely in the pool.

Edited by SecretAgent007, 07 February 2007 - 07:35 PM.

[DaveBond21]

Another one - does anyone like the view that Tilly Masterson has of Bond and Goldfinger's cars in GF?

[erniecureo]

Some of my favorite shots in this vein include:
- Sylvia putting in foreground as Bond climactically bursts in

Forgot about that one. That was great. I also like how, just before that, he slips off his shoes and slides out the PPK. It was cool seeing James Bond's "pad."

I have a side question, though. In FRWL, the shot where we're looking through the infrared scope at Krilencu's escape hatch...had that ever been done in film before?

I'm talking specifically about the red filter...I'm assuming a shot through a normal scope (with crosshairs) had been done, but considering that the infrared thing was used a million times after that (see Terminator, Predator, etc., etc., ad nauseum), it may just have been pretty innovative.

Indeed, just the whole PTS gunbarrel sequence was so unique, it set a standard for the series.

[capungo]

Another one - does anyone like the view that Tilly Masterson has of Bond and Goldfinger's cars in GF?

Yep, quite a bit happening in that shot


OK, I wasn't going to mention this one, as I was hoping that someone else would've mentioned it.

-The closing shot of OHMSS

Just that single bullet hole. Such a minimalist style of it; always felt something like poetry to me. Just shows how much damage a single bullet can do to someone's world, especially for a person like Bond who kills people left and right. Anyone agree?

[Turn]

Another one - does anyone like the view that Tilly Masterson has of Bond and Goldfinger's cars in GF?

Yep, quite a bit happening in that shot


OK, I wasn't going to mention this one, as I was hoping that someone else would've mentioned it.

-The closing shot of OHMSS

Just that single bullet hole. Such a minimalist style of it; always felt something like poetry to me. Just shows how much damage a single bullet can do to someone's world, especially for a person like Bond who kills people left and right. Anyone agree?

Yeah, I agree.

Along those lines, whatever happened to the bulletproof glass? Did this Aston Martin just not feature it?

[trumanlodge89]

For my money, I'm going to go with Bond's casino entrance in OHMSS. The pan, the music, the smokey lighting... it's fantastic.

Also, the oft mentioned batheroom shot in CR. The white wash is very cool.

[CJB]

I'll have to go for the shot of the helicopters approaching Piz Gloria in OHMSS.

[FullMetalJacket]

Along those lines, whatever happened to the bulletproof glass? Did this Aston Martin just not feature it?

I always figured it either had regular glass, or Blofeld and Bunt were smart enough to use some kind of armor-piercing rounds.

[dodge]

I'm updating my all-time fave to this: the knockout shot of Lazenby standing before M's window after Tracy has been kidnapped. In the four-pane window Laz appears in the top left pane...while a memory image of Tracy being dragged away flits across the other three. I've never seen that done before. It takes my breath away,

[Mike00spy]

[quote name='erniecureo' post='697823' date='5 February 2007 - 17:54'][quote]No one has yet mentioned any camera shots from

[erniecureo]

I thought I'd read that the exteriors for the White House were the Las Vegas Hilton?

True, for the long-range establishing shots. But for the scene of him standing on the elevator, you can see the blue neon "starbursts" on either side of the elevator--which were on the Landmark. In addition, when he leans out to shoot the mountaineering pistol (or whatever the hell it's called), you can see that the roof is corrugated stainless steel, and curved upwards...another distinguishing feature of the Landmark (even though they mocked it up in the studio). Check out a photo here:

http://www.charlesph...04/01-22-04.jpg

Sadly, the exterior elevator is on the other side in this shot.