Only now that you point it out I realise how Brosnan's Bond is actually very far from enjoying himself most of the time.
This struck me hardest with TWINE. I remember leaving the theater thinking, "When they decide to make Bond an 'emo' character?"
I pondered this. His serious profession demands he be an alert grown up, but in some ways, I still think this quote is consistent with Bond's character. Bond has been taking risks, challenging authority and breaking the rules since he was a young boy. He's still doing it. Riding a motorbike, which he was referencing with that quote, is a boyish/rebellious thing to do. I may be too lenient here, but I'm in a pro Brosnan mood right now.
I don't blame Brosnan for the line -- I have no idea who contributes what in the "art by committee" atmosphere of a Bond production -- but even allowing for the moment that Bond has a demonstrated anti-authority streak (despite being society's ultimate defender of the status quo) and shows a lot of immaturity in some of his personal habits and sense of humor, it's a big leap to have him recognize and acknowledge these things in such a direct manner. "Why do you treat women so cavalierly, Bond?" "I'm compensating for the loss of my mother." "Why do you drink so much?" "I have a death wish." "What was up with that bit on the motorcycle?" "I have a streak of immaturity." Bond doesn't really seem the type for self-reflection and self-analysis, and even if he did spend time dwelling on such issues, it's doubtful he'd just blurt out his diagnoses to a relative stranger.
Or put another way, anyone who says, "I'm a rebel" probably isn't. Posing as one, maybe, but not a real one.
But I agree - while having lots of fun as well BrosnanBond has a tendency to mope, mainly in TWINE, in which his obsession with Elektra again feels faked instead of earned. Feeling guilty for the death of her father is not enough - she is a grown-up woman who seems not even very sad about what happened. Maybe the assassination on her father should have involved her, too, getting hurt and panicking so that Bond could really have blamed himself.
Interestingly, this is one of the few cases where Brosnan-Bond's schtick works for me. When he's reading Elektra's backstory and seems to be trying to brush away the tears from her computer-screen image, it's an unguarded moment and an unconscious gesture that fits, for me, with Fleming's Bond, who Sir James Molony tells is is a sucker for "a bird with a wing down" and who more than once sticks his neck out to "save" some damsel. Indeed, this seems to be the closest to romantic love Bond is really capable of; this sympathy for the victimized woman that leads him to swoop in as her champion and protector, only to have it all quickly fizzle and peter out should she actually stick around after the saving's done. He can't handle a real relationship, but he feels very deeply during that "damsel saving" phase. (Even Tracy fits this mold, and if she looms large in his memory, its partly because she died at the apex of the "rescue" and not after she'd been around for a couple months of routine matrimony). It made perfect sense to me for Elektra to exploit this chink in Bond's armor and in the hands of better writers it might have made for a really great story.
Well, I have two words for those people: CARY GRANT.
And also two more: ROGER MOORE.
But unless you count Grant's honorary statue, neither of those guys ever won an Oscar. And that's what they're all shooting for now. It's not enough to be popular and beloved with audiences, you need a room full of other popular and beloved narcissists to say they love you, too.
In the long run, it's probably better to just concentrate on entertaining folks and not "ACTING" so hard. "Great actors" get accolades while they live, but great entertainers live on forever. I mean, hats off to Olivier for being the greatest actor of his generation, but given the choice, I'll watch an Errol Flynn movie instead, every time.