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[Spoilers] An idea for Bond 25 without being too obvious


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#1 themadcloner

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Posted 18 November 2015 - 01:32 AM

Obvious meaning Blofeld killing Swann and Bond going on a revenge-driven hunt.

 

My idea is similar, but would be different enough I think.

 

The PTS would reveal that Bond has in fact retired from active service, and it would show Bond's wedding to Swann, interspersed with scenes of Blofeld escaping MI6 custody.  The PTS would end with an attempt on Bond/Swann's life at the wedding, transitioning to the titles.

 

After the titles we would learn that Swann is, in fact, not dead, but in a coma which she may or may not wake from.  Bond, angry of course, DOES go on a revenge-driven hunt through the movie, culminating with Bond severely injuring Blofeld.  Before that happens though, Blofeld kills or puts in danger many people close to Bond, including Q, Moneypenny and M. Blofeld's injury results in him being paralyzed but mentally aware, the ultimate agony for him.  The series of events in the movie makes Bond realize even retirement would not prevent those he loves from being in danger.

 

At the end of the movie, Swann wakes up.  Bond, now watching from outside her hospital room, rushes in.  As his emotions sway from elation to worry at Swann being alive but never being free from danger, Swann looks at him, confused, and says "who are you?"

 

Bond pauses for a few seconds, then a wry smile creeps across his face.

 

Movie ends with him saying "Just a friend."

 

As a way to end Craig's era as Bond he could really act the **** out of this kind of script.  Blofeld still basically destroys Bond's world, but the girl he loves lives and he must make the hardest choice in the end.

 

I dunno, yes it's somewhat cliche but it's a way they could get the obvious revenge angle to work without actually doing the obvious.


Edited by themadcloner, 18 November 2015 - 01:36 AM.


#2 AMC Hornet

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Posted 18 November 2015 - 02:15 AM

Would it be an unexpected twist if Bond doesn't marry Madeleine, or has this already been decided?



#3 agentbug

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Posted 18 November 2015 - 07:18 AM

I doubt it's the way they'll go but I like your idea better than most I've read. :) Ticks the Fleming boxes and has pathos.



#4 themadcloner

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Posted 18 November 2015 - 07:41 AM

I doubt it's the way they'll go but I like your idea better than most I've read. :) Ticks the Fleming boxes and has pathos.

 

Thanks! It has arguably more pathos than killing Swann off, because now Bond has to live with his choice.



#5 seawolfnyy

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Posted 18 November 2015 - 08:44 AM

I like the idea of Swann having amnesia. She doesn't have to die and it's a way for Bond to let her go.



#6 Guy Haines

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Posted 18 November 2015 - 09:58 AM

Obvious meaning Blofeld killing Swann and Bond going on a revenge-driven hunt.
 
My idea is similar, but would be different enough I think.
 
The PTS would reveal that Bond has in fact retired from active service, and it would show Bond's wedding to Swann, interspersed with scenes of Blofeld escaping MI6 custody.  The PTS would end with an attempt on Bond/Swann's life at the wedding, transitioning to the titles.
 
After the titles we would learn that Swann is, in fact, not dead, but in a coma which she may or may not wake from.  Bond, angry of course, DOES go on a revenge-driven hunt through the movie, culminating with Bond severely injuring Blofeld.  Before that happens though, Blofeld kills or puts in danger many people close to Bond, including Q, Moneypenny and M. Blofeld's injury results in him being paralyzed but mentally aware, the ultimate agony for him.  The series of events in the movie makes Bond realize even retirement would not prevent those he loves from being in danger.
 
At the end of the movie, Swann wakes up.  Bond, now watching from outside her hospital room, rushes in.  As his emotions sway from elation to worry at Swann being alive but never being free from danger, Swann looks at him, confused, and says "who are you?"
 
Bond pauses for a few seconds, then a wry smile creeps across his face.
 
Movie ends with him saying "Just a friend."
 
As a way to end Craig's era as Bond he could really act the **** out of this kind of script.  Blofeld still basically destroys Bond's world, but the girl he loves lives and he must make the hardest choice in the end.
 
I dunno, yes it's somewhat cliche but it's a way they could get the obvious revenge angle to work without actually doing the obvious.


I think I like this idea. Avoids a repetition of the Bond gets girl he loves but she dies trope which we've seen twice before and plays on the loss of memory in YOLT - except it's the girl who loses her memory. And, is Bond going to devote himself to Madeleine's recovery or lleave that to others, because he knows as long as she's with him she's in danger.

Will the film makers go for it? Who knows?

#7 Professor Pi

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Posted 18 November 2015 - 02:37 PM

Pretty good idea.  Maybe not seeing a wedding again, but love the idea of interspersing scenes of Blofeld escaping with its violence, juxtaposed with Bond blissfully in love and unaware of the parallel events happening simultaneously, with sort of a OHMSS romantic montage/QoS opera/LTK Sanchez escapes feel to it. 



#8 hoagy

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Posted 18 November 2015 - 03:50 PM

Who would play the Louis Armstrong role, that is:  who would sing the song to play over the lovey dovey rainbows and butterflies montage ?



#9 AMC Hornet

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Posted 18 November 2015 - 04:04 PM

Jared Leto.



#10 themadcloner

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Posted 18 November 2015 - 05:32 PM

Thanks for the all great feedback guys!

 

A couple of more ideas I had:

 

- During the course of Bond's journey to find Blofeld, he uncovers a SPECTRE plot against Britain/the world. Thing is, Bond doesn't care. In fact, he kills a potential source out of anger before MI6 can interrogate him.  M, angry about this, brings Bond into his office and admonishes him for it.  Again, being this movie is just different enough from expectations, M doesn't strip 007 of his license, showing the trust he's earned through these movies.

 

M: You killed the only lead we had!

 

Bond: Collateral damage.

 

M: This isn't just about you.  Millions of lives are at stake.

 

Bond: I only care about one.

 

*a few seconds of silence*

 

Bond: "So, are you going to take me off active duty?" (Bond reaches into his holster for his gun, ready to surrender it)

 

M: (softens, pauses, very quietly) No.

 

Bond: (a little surprised, putting his gun back in his holster) Thank you.

 

*Bond turns around to leave*

 

M: 007.

 

*Bond turns back towards M*

 

M: Is this what she would have wanted?

 

Bond: (pauses) It's what I want.

 

*Bond leaves, M looks on, worried for his agent, worried for his friend.*

 

- A scene where Moneypenney tries to counsel Bond on the tragedy.

 

*Bond sits alone in his loft, lights dim, hears a knock on his door but ignores it.  The knocks won't go away though, which leads Bond to get angry when he opens the door.*

 

Moneypenney: James.

 

Bond doesn't say anything and doesn't invite her in, but turns away and goes back to sit down on his sofa.

 

Moneypenney: I'm sorry.

 

Bond: (pauses) For what?

 

Moneypenney: For Madeleine.  For Vesper...

 

Bond: (angrily) Don't you dare compare her to Vesper.

 

*A few seconds of awkward silence*

 

Bond: Do you know how it feels, Moneypenney, to be unable to love someone in this world? To not be able to give your heart to somebody because Queen and country demands every single bit of your soul?

 

Moneypenney: You've been the best agent this country has ever had, James.  How many times have you saved the world?

 

Bond: And yet I can't save her.

 

Moneypenney: She knew what she was getting into.

 

Bond: Did she? I made a promise to her. I gave her my word.

 

Moneypenney: You gave her your heart.

 

Bond nods.

 

Moneypenney: She'll always have your heart, James.

 

Bond stares at Moneypenney, takes a swig out of his liquor bottle.  Moneypenney lingers for a few seconds more before turning around and leaving.

 

- A couple of scenes playing on the thematic allegory of Bond's wedding ring.  I'm imagining a scene of Bond examining his ring, playing with it, deliberating whether or not to take it off, but ultimately leaving it on. Before the penultimate final battle, Bond realizes he can never have another life beyond the service.  He visits Swann in her room, takes the ring off, and leaves it on her bedside table.  During the battle, Bond has a choice: kill Blofeld, or spare him and use his (live) body to deactivate an arming sequence for the (bomb, missile, whatever).  Bond, ring off, spares Blofeld and saves the world - rewarding M's trust in him - but leaves Blofeld paralyzed.  In the final scene, before Swann wakes up, Bond returns to her room, takes the ring, and puts it back on.  She will always be his wife.  As he finishes putting the ring on, Swann wakes up.  When Bond realizes she has amnesia, he plays with the ring, decides it is enough that he knows his love for her, and then says the "just a friend" line.  Implication being that she will always be his wife in his mind, but that he must sacrifice their relationship for her safety.  Implication also being that Bond finally strikes that balance between his personal and professional life.  After Bond says "just a friend," the camera pans back to Swann who smiles weakly, letting Bond know that maybe he can still bring happiness to her as her friend even though he must endure the ultimate sadness.


Edited by themadcloner, 18 November 2015 - 06:38 PM.


#11 AMC Hornet

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Posted 18 November 2015 - 05:38 PM

Why are you sharing all this with us now? I hate spoilers. Save us some surprises for after your screen treatment is optioned by EON.



#12 themadcloner

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Posted 18 November 2015 - 05:52 PM

Why are you sharing all this with us now? I hate spoilers. Save us some surprises for after your screen treatment is optioned by EON.

 

I can't keep this stuff locked in.  When I get this stuff in my head, I need to get it out.  :P



#13 mattjoes

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Posted 18 November 2015 - 06:16 PM

EON, here's your replacement for Purvis/Wade/Logan.

 

I suppose such a story couldn't feature the loosened up Bond of Spectre, but do you think there could still be some of the uber cool and confident 007 we saw in that film?



#14 themadcloner

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Posted 18 November 2015 - 06:31 PM

EON, here's your replacement for Purvis/Wade/Logan.

 

I suppose such a story couldn't feature the loosened up Bond of Spectre, but do you think there could still be some of the uber cool and confident 007 we saw in that film?

 

lol, thanks.

 

Bond is Bond.  I think there's different sides of him that shine through in every movie, but I think in any revenge-driven film you're looking at a focused, confident, arrogant 007 - he won't let anything get in his way of finding Blofeld and he will do things efficiently and ruthlessly to get there.  The difference being in this kind of script it would also reveal his humanity and vulnerability, which is what the Craig era is all about.

 

I think the biggest theme should be that Bond can never be truly happy himself.  He lives in this fantasy world of sex, action, booze and cars but the one thing that he can never have is shared love and happiness.  He's the most tragic type of hero.  And in this movie he would make several choices which gives those around him a chance at happiness, but each decision that allows others to be happy/safe does the opposite for him.  But that's who he is.


Edited by themadcloner, 18 November 2015 - 06:52 PM.


#15 mattjoes

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Posted 18 November 2015 - 07:37 PM

 

EON, here's your replacement for Purvis/Wade/Logan.

 

I suppose such a story couldn't feature the loosened up Bond of Spectre, but do you think there could still be some of the uber cool and confident 007 we saw in that film?

 

lol, thanks.

 

Bond is Bond.  I think there's different sides of him that shine through in every movie, but I think in any revenge-driven film you're looking at a focused, confident, arrogant 007 - he won't let anything get in his way of finding Blofeld and he will do things efficiently and ruthlessly to get there.  The difference being in this kind of script it would also reveal his humanity and vulnerability, which is what the Craig era is all about.

 

I think the biggest theme should be that Bond can never be truly happy himself.  He lives in this fantasy world of sex, action, booze and cars but the one thing that he can never have is shared love and happiness.  He's the most tragic type of hero.  And in this movie he would make several choices which gives those around him a chance at happiness, but each decision that allows others to be happy/safe does the opposite for him.  But that's who he is.

 

Yes, it's just that Spectre has a lighter tone than the previous films, and accordingly, Craig shows a lighter, funnier side of Bond. He's so good at it that it'd be a shame to see that side of his performance go away. Now that he's approaching the end of his tenure, and we've seen his more brooding Bond in three films, I'd prefer to see him play in this other style. It's almost as if his Bond has gone through such intense experiences over the course of the first three films that he has become slightly detached from things, as a defense mechanism. It's a refreshing change and it makes sense.

But I suspect EON will go back to a more serious minded style. Craig has never ended up with the Bond girl, either because she died or because there wasn't one, but now that it finally happened, I'm not sure they'll just make Madeleine disappear at the beginning of the next film. This era has been about playing with the tropes and reinventing Bond, so she'll probably still be around next time. But the Bond girls are always changing, so if she can't be one, her absence will have to be explained somehow. Cue death, illness, etc. I really like your idea, but I'm not sure I'd want to see it happen if it meant Craig wouldn't be able to continue what he started in Spectre, performance wise. He's that good in it! If he had two more films in him, then I'd be fine with a darker story after Spectre, but hopefully that would be followed with another old-fashioned adventure as his farewell to the series.

 

Don't get me wrong, I really appreciate the Craig era, but at this point, I'd prefer swagger to introspection.



#16 seawolfnyy

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Posted 18 November 2015 - 08:02 PM

This is a really great start, I've gotta hand it to you. One thing I would change is having Blofeld die instead. Bond knows that the only way to pretext her from Blofeld is to kill him. however, when he sees her in the hospital he realizes the only way to keep her safe is to stay away from her. Overall I really like this idea though.

#17 Professor Pi

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Posted 19 November 2015 - 08:48 AM

 

 

EON, here's your replacement for Purvis/Wade/Logan.

 

I suppose such a story couldn't feature the loosened up Bond of Spectre, but do you think there could still be some of the uber cool and confident 007 we saw in that film?

 

lol, thanks.

 

Bond is Bond.  I think there's different sides of him that shine through in every movie, but I think in any revenge-driven film you're looking at a focused, confident, arrogant 007 - he won't let anything get in his way of finding Blofeld and he will do things efficiently and ruthlessly to get there.  The difference being in this kind of script it would also reveal his humanity and vulnerability, which is what the Craig era is all about.

 

I think the biggest theme should be that Bond can never be truly happy himself.  He lives in this fantasy world of sex, action, booze and cars but the one thing that he can never have is shared love and happiness.  He's the most tragic type of hero.  And in this movie he would make several choices which gives those around him a chance at happiness, but each decision that allows others to be happy/safe does the opposite for him.  But that's who he is.

 

Yes, it's just that Spectre has a lighter tone than the previous films, and accordingly, Craig shows a lighter, funnier side of Bond. He's so good at it that it'd be a shame to see that side of his performance go away. Now that he's approaching the end of his tenure, and we've seen his more brooding Bond in three films, I'd prefer to see him play in this other style. It's almost as if his Bond has gone through such intense experiences over the course of the first three films that he has become slightly detached from things, as a defense mechanism. It's a refreshing change and it makes sense.

But I suspect EON will go back to a more serious minded style. Craig has never ended up with the Bond girl, either because she died or because there wasn't one, but now that it finally happened, I'm not sure they'll just make Madeleine disappear at the beginning of the next film. This era has been about playing with the tropes and reinventing Bond, so she'll probably still be around next time. But the Bond girls are always changing, so if she can't be one, her absence will have to be explained somehow. Cue death, illness, etc. I really like your idea, but I'm not sure I'd want to see it happen if it meant Craig wouldn't be able to continue what he started in Spectre, performance wise. He's that good in it! If he had two more films in him, then I'd be fine with a darker story after Spectre, but hopefully that would be followed with another old-fashioned adventure as his farewell to the series.

 

Don't get me wrong, I really appreciate the Craig era, but at this point, I'd prefer swagger to introspection.

 

 

Craig did a much better job with the humor in SPECTRE than Skyfall.  The Mickey Mouse line was a great bit of self-deprecation, and he handled the frustrations during the car chase well.  His "Good evening" when he parachuted to the street was very reminiscent of Moore.  Much better than his "Health and safety.  Carry on." dialog.  His reactions to getting the watch over the car from Q were fantastic.  And his resigned frustration at ordering a vodka martini from the health bar!



#18 mattjoes

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Posted 19 November 2015 - 04:03 PM

Craig did a much better job with the humor in SPECTRE than Skyfall.  The Mickey Mouse line was a great bit of self-deprecation, and he handled the frustrations during the car chase well.  His "Good evening" when he parachuted to the street was very reminiscent of Moore.  Much better than his "Health and safety.  Carry on." dialog.  His reactions to getting the watch over the car from Q were fantastic.  And his resigned frustration at ordering a vodka martini from the health bar!

 

Not to mention his disgusted expression when he tells the barman to flush the drink down the toilet!

It's not just the humor, his body language reeks of confidence more than ever before. Just look at the way he moves in the first shot of the movie, or how he slides down the collapsed rooftop after the explosion.



#19 themadcloner

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Posted 19 November 2015 - 10:56 PM

OK, a few more ideas, including one that could be fairly controversial.

 

- A scene with Bond and Q

 

*Bond walks into Q's HQ, looks at several gadgets, isn't really particularly interested in any of them.  He's clearly thinking about Swann.*

 

Q: Bond.

 

Bond doesn't really respond, looks around some more.

 

Q: Listen, Bond, I -

 

Bond: Is this for me?

 

Bond holds a gadget in his hands (I'm not sure what it is exactly, but it would obviously fit into an action scene at some point).

 

Q: Yes.

 

They go through the gadget as per usual.

 

Bond: Thank you.

 

Q: One more thing, 007.

 

Bond looks at Q.

 

Q: We were able to recover some security camera footage of Blofeld's escape.  I thought you'd be interested.

 

Bond looks on, curiously.

 

Q: The footage is quite degraded.  A byproduct of the explosion, of course.

 

The footage shows a grainy Blofeld emerging from the building, walking up to a woman, and embracing her quickly before getting into a getaway vehicle.

 

Q: We've been trying to run her image through all the usual databases.  Nothing yet.

 

Bond stares intently at the footage.

 

Q: Who do you think she is?  A sister?

 

Bond (with a moment of epiphany): No.

 

Bond gets up to leave.

 

Q: Oh, 007.

 

Bond turns around once again.

 

Q: Bring yourself back in one piece, would you?

 

Bond has the slightest hint of a smile as he turns around and walks out.

 

- A scene with Bond and Rosa Klebb.  This would entail Bond shadowing Klebb back to her residence, where he finds the front door unlocked.

 

Rosa: Ah, James.  I'm just settling down for some tea.  Would you join me?

 

Bond walks over and sits down at a small circular table, facing her.

 

Rosa: It's nice to finally meet you.

 

Bond looks on, trying to read her.  Rosa smiles.

 

Rosa: We don't have to play games.  I'll answer your questions.  I know you have many.

 

Bond: Klebb, is that a family name?

 

Rosa answers as she is pouring tea.

 

Rosa: My parents were born in Russia. Left me with my uncle when I was 14.

 

Bond: I trust it was a mutual decision.

 

Rosa: They were always drinking.  You are familiar with the type, no?

 

Bond: Very.

 

Rosa: My uncle loved me.

 

Bond: Did he?

 

Rosa: Of course.  And he would ask me to show him my love for him often.

 

Bond: I'm sorry.

 

Rosa (laughs): Don't be! He wasn't. Not till the day he died.

 

Bond: Did you kill him?

 

Rosa (smiles): I don't believe a lady should discuss such things around tea.

 

Bond raises his tea cup in a mock cheers motion.

 

Rosa: Enough about me. I wouldn't be a very gracious host if I didn't ask about you.

 

Bond: What do you want to know?

 

Rosa: Bond, is that a family name?

 

Bond: You know the answer to that question.

 

Rosa: It's not a very common name though, is it?  Of course you were going to change that, weren't you?

 

Bond stares at Rosa, knowing what she means.

 

Rosa (laughs and stares at Bond, with a hint of sexual attraction): You and him, you share more in common with him than you think.

 

Bond: You love him, don't you?

 

Rosa (laughs again): Jealous?

 

Bond: You're really quite insane, aren't you?

 

Rosa: How else can any woman love men like you and him?

 

Bond: She's nothing like you.

 

Rosa (smiles wickedly): How can you be sure?

 

A few moments pass.

 

Rosa flips the table aside, rushes towards Bond, kisses him before Bond kicks her away.

 

Rosa (laughs again): Not bad.

 

Bond: I've had better.

 

The demeanour on Rosa's face changes from playfulness to malevolence.  Rosa grabs a knife and rushes towards Bond again.  They fight, pretty intensely.  At one point Klebb takes a poison-tipped blade from her stiletto and tries to stab Bond with it.  Bond manages to overpower her and stabs Klebb with the blade.  Klebb fades into unconsciousness.

 

As for who I'd cast to play Klebb:

 

Milla Jovovich


Edited by themadcloner, 19 November 2015 - 11:16 PM.