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How would you direct Quantum of Solace? What would you change?


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#31 The Shark

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Posted 23 August 2009 - 06:07 PM

This is how I would have liked Bond to handle Yusef.

Corinne is currently waiting outside the door in the corridor, and she hasn't left the apartment.
Bond tells Yusef to open his cheque book, he does this immediately.

Bond: Right. Now jot this down on the back of your cheque book and see you get it right. Book me a compartment on the Trans-Siberian Express to Moscow tonight. Have a bottle of vintage champagne on ice in the compartment and plenty of caviar sandwiches. The best caviar. If you don't do what I say verbatim, you'll be deported to a foreign nation for interrogation and it'll be out of my hands. Nod if you understand.

Yusef nods. Traces of sweat on the Algerian forehead crawled like Muslim worshippers.

Bond: Good, now hand the cheque over to me.

Yusef placidly dealt the check to Bond, the weasel of a man cowering back onto the seat, waiting to die.

Bond: Corinne, come back in the room.

Slowly she opened the door and stepped to Bond's side.

Bond: Oh one last thing Mr Kariba... I'll shall be taking a hostage for the ride to Moscow, property of Canadian Intelligence. Corinne..?

Corinne: Veneau.

Bond: See that Miss Veneau is on that train. Oh and make that compartment a drawing room. That's all.

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.

#32 Jim

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Posted 23 August 2009 - 06:10 PM

This is how I would have liked Bond to handle Yusef.

Corinne is currently waiting outside the door in the corridor, and she hasn't left the apartment.
Bond tells Yusef to open his cheque book, he does this immediately.

Bond: Right. Now jot this down on the back of your cheque book and see you get it right. Book me a compartment on the Trans-Siberian Express to Moscow tonight. Have a bottle of vintage champagne on ice in the compartment and plenty of caviar sandwiches. The best caviar. If you don't do what I say verbatim, you'll be deported to a foreign nation for interrogation and it'll be out of my hands. Nod if you understand.

Yusef nods. Traces of sweat on the Algerian forehead crawled like Muslim worshippers.

Bond: Good, now hand the cheque over to me.

Yusef placidly dealt the check to Bond, the weasel of a man cowering back onto the seat, waiting to die.

Bond: Corinne, come back in the room.

Slowly she opened the door and stepped to Bond's side.

Bond: Oh one last thing Mr Kariba... I'll shall be taking a hostage for the ride to Moscow, property of Canadian Intelligence. Corinne..?

Corinne: Veneau.

Bond: See that Miss Veneau is on that train. Oh and make that compartment a drawing room. That's all.

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Trouble is, Goldfinger's already been written.

Traces of sweat on the Algerian forehead crawled like Muslim worshippers.

Wanting her supple body to be penetrated and raped by the rugged British agent.


Except for those bits. Knock it off.

#33 The Shark

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Posted 23 August 2009 - 06:13 PM

I know, but that part of the scene's never really been filmed, and it could work very well in a Craig Bond film.

#34 Loomis

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Posted 23 August 2009 - 06:38 PM

Yusef nods. Traces of sweat on the Algerian forehead crawled like Muslim worshippers.


B)

#35 Mr_Wint

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Posted 23 August 2009 - 06:46 PM

Wanting her supple body to be penetrated and raped by the rugged British agent.

B) x2

#36 Aris007

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Posted 23 August 2009 - 06:59 PM

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Yeah! Then Bond and Yusef take their pants down, their underwear.....I'm sorry! I thought this was an 18+ film!

#37 The Shark

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Posted 23 August 2009 - 07:18 PM

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Yeah! Then Bond and Yusef take their pants down, their underwear.....I'm sorry! I thought this was an 18+ film!


Then you've obviously never read a Fleming novel. These films need more sex and class.

Except for those bits. Knock it off.


I prefer my girlfriend to that.

Edited by The Shark, 23 August 2009 - 07:20 PM.


#38 Aris007

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Posted 23 August 2009 - 07:22 PM

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Yeah! Then Bond and Yusef take their pants down, their underwear.....I'm sorry! I thought this was an 18+ film!


Then you've obviously never read a Fleming novel. These films need more sex and class.


Are you kidding mate? In Die Another Day they had to cut seconds of the love scene so as to keep the PG-13! If they turn to your Bond aspect they'll have to cut an hour!

#39 The Shark

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Posted 23 August 2009 - 07:30 PM

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Yeah! Then Bond and Yusef take their pants down, their underwear.....I'm sorry! I thought this was an 18+ film!


Then you've obviously never read a Fleming novel. These films need more sex and class.


Are you kidding mate? In Die Another Day they had to cut seconds of the love scene so as to keep the PG-13! If they turn to your Bond aspect they'll have to cut an hour!


All of my stuff is meant to be implied, not explicit. If they the ratings board let the trashy Jinx sex scene in DAD through, they'll sure as hell let through mine.

Nothing like a little breast and *rse stroking eh?

#40 Aris007

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Posted 23 August 2009 - 07:45 PM

Bond and Corinne walk out the doors holding hands, both of them finally drawing some Solace. In the back of her mind, she was aroused yet terrified by the anxiety, the imminent danger. Wanting her supple body to be penetrated and raped by the rugged British agent. She'd never felt this way before.

The two of them kiss passionately in front of Yusef, out of anguish and anger. This was his ultimate vengeance, not in hate, but in an expression of love.


Yeah! Then Bond and Yusef take their pants down, their underwear.....I'm sorry! I thought this was an 18+ film!


Then you've obviously never read a Fleming novel. These films need more sex and class.


Are you kidding mate? In Die Another Day they had to cut seconds of the love scene so as to keep the PG-13! If they turn to your Bond aspect they'll have to cut an hour!


All of my stuff is meant to be implied, not explicit. If they the ratings board let the trashy Jinx sex scene in DAD through, they'll sure as hell let through mine.

Nothing like a little breast and *rse stroking eh?


What do you have in your dirty mind? How do imagine it? How's the audience going to understand what's going on in Corinne's head?

#41 The Shark

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Posted 23 August 2009 - 07:53 PM

Subtle camera angles, a narration wouldn't work unfortunately. Shots that don't contain breasts, but you think they did.

#42 Aris007

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Posted 23 August 2009 - 07:55 PM

Hmmm! Promising! I have to say you have a vivid imagination! B)

#43 byline

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Posted 23 August 2009 - 08:04 PM

While I agree that the film feels short (and its running time is, indeed, shorter than other Bond films), I think we have to keep in mind that Forster originally had an additional scene which served as the ending of the film. That ending was eventually cut, hence shortening the film considerably.

#44 danielcraigisjamesbond007

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Posted 23 August 2009 - 08:08 PM

1) I would have added another thirty minutes to the film.
2) I would have edited the film better.
3) I would have given the writers more time to come up with a better script.

Sorry that I couldn't say anything positive, and I tried not to "bash" the film. But that's what I would have changed. Sorry.

#45 DamnCoffee

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Posted 23 August 2009 - 08:27 PM

I would actually love to see this:

"Make Greene's fundraiser the night after they arrive, and have Bond, Mathis and Fields sit down to dinner at the hotel restaurant on the evening before. This allows character development, especially for Fields. Maybe have Fields ask Bond about his past relationships, Bond goes silent. "

Even though it's my idea, I still think it had the potential to be incredibly glamourous and classy, Imo. I can imagine Bond ordering the most expensive thing on the menu, and a nice bottle of Bollinger. Fields gives him a disapproving look, grits her teeth and says, "We're not blending in...", only for Bond for smugly reply with, "We've just won the lottery!".

B)

#46 Nicolas Suszczyk

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Posted 23 August 2009 - 08:34 PM

Same as Martin Campbell would have done it. Period.

(That wasn't a Quantum of Solace bash, I suppose B) )

#47 Aris007

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Posted 23 August 2009 - 08:39 PM

Same as Martin Campbell would have done it. Period.

(That wasn't a Quantum of Solace bash, I suppose B) )


Touché!

#48 Tybre

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Posted 23 August 2009 - 08:46 PM

These films need more sex


Who are you, Pierce Brosnan?

#49 The Shark

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Posted 23 August 2009 - 08:47 PM

These films need more sex


Who are you, Pierce Brosnan?


Ian Fleming.

#50 DamnCoffee

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Posted 23 August 2009 - 09:02 PM

Ahh nevermind. I'll just stay ignored, then. B)

#51 The Shark

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Posted 23 August 2009 - 09:26 PM

I would actually love to see this:

"Make Greene's fundraiser the night after they arrive, and have Bond, Mathis and Fields sit down to dinner at the hotel restaurant on the evening before. This allows character development, especially for Fields. Maybe have Fields ask Bond about his past relationships, Bond goes silent. "

Even though it's my idea, I still think it had the potential to be incredibly glamourous and classy, Imo. I can imagine Bond ordering the most expensive thing on the menu, and a nice bottle of Bollinger. Fields gives him a disapproving look, grits her teeth and says, "We're not blending in...", only for Bond for smugly reply with, "We've just won the lottery!".

B)


Interesting post.

This could also provide the opportunity for Bond bumping into Camille in town the next day. When they meet at the party, it's almost like they've had a talk before the party.

Undestatemnt can be effective on occasion, but too much it just gets silly.

#52 Nikos78

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Posted 23 August 2009 - 11:52 PM

1. I 'd 've given it a bit more time for the plot to expand. Not up to 2 1/2 hours but 10-15 mins longer. It's enough screen time for scenes to develop in their own right instead of constantly intercutting between places (e.g. interrogation scene)and rushing moments that needed more atmosphere (Bond in bed with Fields)

2. I will NEVER understand why Forster chose to change MI6 headquarters. Lamont's design at the real building was one of the few continuity elements in the series right now and it was perfect as it was. Gassner's design doesn't prove such an artistic statement to justify the change.

3. They had the hotel in the desert, but they never made a single effort to make it look like one. They should have used it as something else, because as it is it makes absolutely no sense why the hell a hotel should be in the middle of the desert. It could be someone's hq or a military base or lord-knows-what.

That's pretty much it, and as a final comment, I d like to say that I love Craig in the role, but I think it's time to go back to the GF, YOLT, SWLM fun Bond- without selling out the properties of Craig. Have him on a mission that ISN'T personal for once and just blast the the hell out of a great villain with an out-of-this-world hq without the cheap comedy of the Moore era. Thanks.

#53 DaveBond21

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Posted 24 August 2009 - 02:22 AM

Extend the Interrogation Sequence by around 5 minutes. Make White more menacing, have him taunt Bond over Vesper. And set up QUANTUM in more ways than just "We have people everywhere!"


That was just White's way of introducing Mitchell. The interrogation scene was only ever going to be as long as White wanted it to be, as long as his mate Mitchell was there. So White giving more away wouldn't have made sense as he wasn't under any pressure (apart from the sore leg!).

Indeed, the line "We have people everywhere" doesn't necessarily mean it's true. But it's what I would say if I was trying to make MI6 even more worried about the organisation.

Indeed, it could be Quantum Directive #4:- when being interrogated give NO information about Quantum away. Make the organisation sound as large as possible.

#54 00Twelve

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Posted 24 August 2009 - 03:37 AM

Wouldn't change a ton.

Assuming this includes writing/plot changes, I'd give Bond & Mathis more time together (their scenes were some of the film's best) and increase Felix' part (just because he's the bees knees).

Might not have killed off Mathis, just because he was such a great recurring character. Definitely would have made the boat climax clearer, or clear at all. Would have dropped the plane chase/skydive.

#55 DaveBond21

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Posted 24 August 2009 - 06:24 AM

Wouldn't change a ton.

Assuming this includes writing/plot changes, I'd give Bond & Mathis more time together (their scenes were some of the film's best) and increase Felix' part (just because he's the bees knees).

Might not have killed off Mathis, just because he was such a great recurring character. Definitely would have made the boat climax clearer, or clear at all. Would have dropped the plane chase/skydive.


I agree with all of these, 00Twelve. I would have liked to have seen an extended conversation between Bond and Mathis at Talamone, just to show it took a little more wine and chat to persuade him to come along.

#56 Righty007

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Posted 24 August 2009 - 07:19 AM

Yusef nods. Traces of sweat on the Algerian forehead crawled like Muslim worshippers.


:tdown:

Wanting her supple body to be penetrated and raped by the rugged British agent.

:tdown: x2

Obviously, The Shark has issues. B)

Sharky, if you want to watch sex so badly, you're at the wrong site, my friend. I'm a little tired of reading your posts regarding your desire to see more sex in the Bond films and then backing up your desire by posting "Ian Fleming."

#57 SecretAgentFan

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Posted 24 August 2009 - 08:15 AM

Sort out the Shaky Cam.

I know lots of people around here don´t like it. I agree that it is not the freshest element of the film. But I think it is miles ahead of the "Michael Bay"-style. It is balanced very elegantly, it slows down, it accelerates. So - I think it´s okay for this film. Although I definitely would like to see longer, continuous action takes in the next Bond film - like Cuaron´s "Children of men" camera style.

All the fights should me more brutal. Bond should get bruised, and bloody. They should feel like they hurt. Like Casino Royale.

Hmm. I thought the fights already were quite brutal.

Show Greene's plans more, how he plans to deprive Bolivia of the water supply.

Why? It is established enough IMO. And I certainly don´t want a villain explain his evil plan anymore. Or have Bond explain it to someone else in broad detail.

Make Mitchell, Villiers. It would've been a lot more personal.

Yes! Great idea!

Extend the Interrogation Sequence by around 5 minutes. Make White more menacing, have him taunt Bond over Vesper. And set up QUANTUM in more ways than just "We have people everywhere!"

Don´t think so. I actually consider it very menacing to know just "We have people everywhere." And he already taunts Bond over Vesper very well.

Extend the scene with Bond and M in Villiers' flat and the scene in MI6. It would be revealed that Villiers was the one who sent on information to Le Chiffre, and got Mathis imprisoned.

Yes, as well!!!

Space out the action more. For instance, before the fight with Slate, maybe show Greene actually killing his 'best Geologist', thinking he betrayed him. Would be great to see Greene introduced there, rather than stamping paper...

No. It´s great to have not a mustache-twirling villain but someone who seems to be quite harmless.

See Bond sorting himself out after he kills Slate, not use quick cutting. See him stand up after killing Slate, out of breath and looking angry. A Kind of homage to the PTS fight in Casino Royale.

Well, been there done that. Also, Bond has kind of picked up the pace since CR. If he always gets out of breath one might think he smokes too much B)

Have a stealth sequence, where Bond investigates the dock, and listens into Greene + Camille's conversation. Maybe Medrando's as well. I could see a great sequence with Bond on the roof, just crawling along, following Greene. No action, just stealth. Then have Bond disappear after Camille gets kidnapped. The he turns up on the bike, leading into the boat chase.

Interesting. Although he does investigate already. It would only lengthen the sequence. But that´s what you´re going for so - good!

Have the boat chase as it is, just show Bond trying to interrogate Camille, avoiding gunshot's etc.

You know, IMO the way it´s done is more believable. How can Bond interrogate Camille while ducking gunshot´s and handling the boat?

Include more scenes of Greene and Elvis, Greene especially. He had the potential to be a brilliant villain, but he's criminally underused.

I agree. I guess a lot has been cut here. Again, for pacing as they say on all the DVD commentaries...

Show Greene pissed off over the loss of Camille, announcing that she has to be stopped before she reveals anything. Show him planning to meet up with Quantum members at the Opera, too.

Don´t think so - would be like stating the obvious.

Have Bond beat up one of Greene's guards at the Opera, and steal his tuxedo. Have the scene play out in the most Bondian fashion.

Would only add one more beat to the already Bondian scene. And showing up there without a tuxedo would make him stick out there in the crowd like a sore thumb - so, not believable.

Have Greene set up a meeting with White and demand to know more about 'the guy who ruined the operation', referring to Bond. White tells him how he ruined Le Chiffre's plans and lost Vesper. This allows Greene's line of "Everything he touches seems to wither and die" to have more meaning. This should happen probably after the Opera sequence.

Again, too much information that is already conveyed.

Show more of Bond and Mathis. Extend the plane sequence, and allow Mathis explain to Bond what exactly a Quantum of Solace is.

Yeah. Maybe this would have shut up all the people who still don´t know both words. And the Fleming purists would have a Fields´ day. (Sorry, bad pun.)

Include a scene with Bond, Mathis and Fields walking around the street's of Bolivia, Have Fields explain how bad the poverty is, and make reference to the water shortage.

C´mon, Mharkin. Do we really need to have this explained?

Make Greene's fundraiser the night after they arrive, and have Bond, Mathis and Fields sit down to dinner at the hotel restaurant on the evening before. This allows character development, especially for Fields. Maybe have Fields ask Bond about his past relationships, Bond goes silent.

Interesting. And more Fields would have been nice. However, that kind of scene seems to only make sense in a Fleming novel. Not an action film...

Have a short scene with Felix, Beam and Greene. Greene saying it's a possibility that Bond will show up at the Fundraiser.

Stating the obvious again...

After the scene where Bond pulls Fields back down on the bed, show Bond, Fields and Mathis traveling to the fundraiser. More character development.

Filler. Not necessary.

Show more of Felix at the fundraiser. Maybe have them talk in a secure location, Felix requesting Bond to leave for his own safety. Bond then goes up and rescues Camille.

Don´t think that Felix believes Bond would consider this warning.

Have Fields explain that herself and Mathis will both work on finding out about Greene's operations, as Bond and Camille go off to see The Tierra Project. This explains Bonds line, "Ms Fields showed true bravery, I want that mentioned in your report"

No, IMO Bond´s line is much more touching if we think that she actually did not too much spying but was sucked into this brutal scheme as a desk clerk. The innocent bystander Bond romances and involuntarily exposes to danger.

Show Fields and Mathis leaving the fundraiser together, arm in arm, after Bond goes off with Camille. Show both of them getting spied on from a car.

Too much, maybe.

Completely cut the Free-Fall sequence, have Bond and Camille bow out of the plane, just as it touches the ground. Maybe have Bond and Camille land in the lake? Have a bloody Bond dragging out an unconscious Camille and lying her on the ground. Bond sits down, in pain?

Ah, the Free-Fall sequence. Over the top? Yes. Didn´t bother me too much because of the cut immediate aftermath. Otherwise I would have asked myself: is this believable? So, I agree with Foster here (what a shock!): rushing to the next emotional beat and not leaving too much time to question.

Show Greene getting a phone call announcing that Bond and Camille are dead. Show Greene smiling creepily. Elvis asks Greene is they should get rid of the other two, referring to Mathis and Fields, Greene agrees.

Mustache-twirling and obvious.

Have Camille mention that her scar was caused by the house fire in her speech. Bond then goes onto talk about Greene creating a drought.

Umm, a bit awkward, this transition: Hey, I was badly burned. Hey, Greene wants to create a drought. - Also, only lenghtening what´s already clear.

Cut to of Greene's guards walking up the stairs in the hotel. They split up, 3 head to Fields' room, 3 head to Mathis'. The scene cut to Fields, she is about to fix herself a bath. After she finishes running the water, she hears a knock on the door. She walks out of the bathroom, with a towel round her and goes to answer it. As soon as she opens the door, Greene's guards run into the room, she lets out a loud scream.

I do think that it´s much more shocking to be confronted with Field´s death at the same time Bond gets told about it.

After Bond and Camille escape from the Sink Hole, have Bond inform a villager of the lake. It always wondered me why the miserable bastard didn't bother telling them. (If you watch the movie, you can see him considering it. "Shall I, Shall I? Shall I... NAH!)

Don´t know. Is the water in that lake drinkable? Also it wouldn´t really change what Greene wants to do with the country, right?

Have Bond find Fields body before M enters the hotel room:
Something along the lines of this...


BOND walks up the stairs and along the landing, untill he comes to his hotel room. He slowly opens the door. Nothing. He walks into his room, slowly and suspiciously. His room is too quiet.

BOND: Fields?

BOND continues walking, His head turns sharply, and he walks towards the bedroom door. Once there, he takes a deep breath and opens it.

The site before him is shocking. FIELDS is on the bed, covered completely in oil. The room itself is quite tranquil. A light breeze is blowing the curtains slightly. The room doesn’t appear to be in that much of a mess. Only a few magazines and a broken lamp on the floor.

BOND runs to her aid.

BOND: NO. Fields? FIELDS!?

He checks her pulse – Nothing. He runs his hand over her face, gently, and rises up from the side of the bed. His breathing increases in anger. BOND leans out of the window, to get some air. He sees many black vehicles pull up outside, people get out of them and head in the hotel. He turns to leave, takes one last look at FIELDS, then walks out of the bedroom.


Well, that would have been too much of a "Goldfinger homage than, wouldn´t it?

After Bond escapes the guards in the elevator, Bond runs into M, she informs him that there's a capture or kill order out on him. He dodges guards and goes to Mathis' room, finding him barely alive. He catches M in the corridor and tells her to tell the CIA that she saw him leave the hotel. Allowing Bond to get Mathis out safely. Bond rings Camille, and asks her to bring the car round the back of the hotel. Camille arrives in a black SUV, not the small car in the finished movie. Bond takes the wheel, and asks Camille if they're any hospitals around. Mathis is wincing in pain in the back seat. Bond is forced off the road by some bent police officers, and Mathis is shot.

Could have worked. But the shock value is bigger IMO the way it is.

Bond cradles Mathis in his arms, and he dies. We see Bond carry Mathis into the hospital, and gently put him in the arms of a Doctor. Asking him to take care of him. Bond gets back in the car, and says that everything will soon be over, and he has a contact that can fix everything.

And then we would not have that great and surprising scene with Bond dumping the body, establishing his character again.

Bond then contacts Felix, and requests a meet. The bar scene will be longer, allowing more character development for Leiter. The action sequence is great, so I'll leave it in. Bond meets up with Camille after he escapes the bar, and explains everything.

Leiter wants Bond to leave immediately here. He has no time to talk more.

Have a scene with M and Tanner. Tanner tells M that Mathis has died, and according to Leiter, Bond is on his way to Bolivia.

The audience already knows all of that.

Have the finale play out as normal. BUT, show Bond interrogating Greene about QUANTUM.

Hmmm. Basically, yes. But would Greene talk? How much does he know? And this film does not have enough time left to tie that up.

Instead of being in the car when Camille and Bond part ways, Bond will be walking with Camille to the train station. This is due to the fact that Greene's interrogation will be in the car, I don't wish the audience to become to claustrophobic.

No! The interrogation should be in the desert!

As Camille walks away, we see a saddened look on Bonds face, as the scene fades to Russia.

Is he really so saddened about Camille? He never was that interested in her. He is still concerned with Vesper.

We see a scene with Bond and Yusseff, right after the original film fades out. We finally see Bond get his revenge. Whatever that may be.

His revenge is clearly this: I don´t have to kill him. I am a Secret Agent for Her Majesty. And my quest here is over.

And that´s why...

The end scene plays out as normal. Bond walks off, throwing the necklace in the snow. The scene fades out, and we Crawl, End, Crawl, as the credits roll.


But, Mharkin, major kudos for your thoughts on QOS. Always fun to debate with you.

#58 Zorin Industries

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Posted 24 August 2009 - 09:51 AM

No, the script is the fatal flaw, no question.


Oh, most definitely. I do think Forster is partly to blame though. The guy really cannot do action, and the way it turned out, it looks like he was trying to hard because he wasn't comfortable with it. It would've been a lot better if he worked on the emotional side of things, and allowed 2nd Unit to work on the action. The only time when Forster 'gets it right' is probably in the PTS and the Opera Sequence. That's all.

I keep saying this, but I really wouldn't have minded to see QUANTUM OF SOLACE delayed until May 2009. Allowing producers to get the script finished. Imo, a movie is in great trouble when there's still major re-writes going on during filming.

No. A film is NOT in "great trouble" when it still has major rewrites going on during "filming". From my experience that is fairly normal. As I have outlined before on CBN, ALL SORTS OF FACTORS determine rewrites. And as mantras and cliches go, a writer doesn't write. He rewrites. So in the case of a Bond a rewrite is not always the sign of weakness the panickers think it is but actually an indicator of one location taking up the time of another, a cast member's schedule and availability having to change, early edits and rushes highlighting how a beat is missing either in a scene, an act or the whole film and weather conditions eating into the exterior shoot at a logistically awkward location. And that is just for starters.

And Marc Forster can do "action scenes". Like most of SOLACE, they are precise.

A lot of people evidently mistaken precision for lack of content. Bond films by their very nature are not the most precise of films, but just because Forster actually produced a more precise film where the audience were not spoon-fed every plot point doesn't mean QUANTUM OF SOLACE is lacking in content, nuance or class.

#59 SecretAgentFan

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Posted 24 August 2009 - 11:38 AM

I agree mostly. However, it seems as if too much doctoring on the script (Craig said that he and Forster worked a lot on it during production) might be responsible for the somewhat truncated or abbreviated feel some audiences have gotten from QOS.

Make no mistake: the film turned out very well IMO and also in yours, Zorin. But I could imagine that this was done not in the best of working circumstances.

Of course, that´s only speculation. But didn´t Haggis or Forster say that they had a script when Forster signed on which had to be completely overworked if not thrown out? Haggis then did everything he could to meet the deadline of the strike. EON had to rush QOS into production although at least Forster was still not satisfied with the script.

Granted, every production causes rewrites during shooting due to any circumstance possible. But lots of times shooting commences without the script being ready. Which is never a good thing.

"Not ready" or "not there yet", however, does not mean that the script is bad. It means that the director, the actors and the producers still don´t agree on it.

Now, Forster, to me, seems to be a director who clearly wants to put his stamp on a movie. He is no team player or workman like director. He wants to do what he wants to do. Which is fine and okay and produces great results.

But when director and writer have different points of view it always gets problematic. The writer at some point will get fired and replaced even if his script was fantastic.

The director will get in his own guys - mostly those who do his bidding. Zetumer, a newcomer who would do anything to get his shot at a career, did probably do anything Forster wanted him to. And he gets rewarded with a paycheck and now the chance to do a shadow script for "Bourne 4". (By the way, a shadow script. Boy, what a mean way to treat a writer. But Zetumer seems to be known as a guy who is very accomodating to his bosses.)

The fact that Haggis does not return for Bond 23, I guess, speaks volumes. He probably felt mistreated not only by Forster but also by EON who, of course, sticked with their director. At least during the release of QOS.

My take is this: QOS was a mighty headache for EON. They had to follow their most popular Bond, had a production with major difficulties. Everything was rushed. Lots of things went bad. BUT... at least they pulled it all together and created a great film that made lots of money. The fact that they now take their time to develop Bond 23 is, IMO, a clear sign for "We never want to get into that kind of situation again!"

Maybe they have reached out to Haggis again but he said: No, forget it. Still, they want the prestige of a major writer. So they bring in Peter Morgan to work again with Purvis and Wade.

Could that be possible?

#60 DamnCoffee

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Posted 24 August 2009 - 11:44 AM

That could actually be very possible. Great observation, SecretAgentFan! B)