Posted 29 January 2006 - 08:46 PM
Gunbarrel at the end? I quite like that idea. But would that mean leaving the James Bond Theme until the end as well?
To quote zen, "if we really want a Bond begins, we really want to separate this film from the others in the series", here's how I'd do it:
Columbia Pictures logo, Sony logo, or whatever the heck it is nowadays.
Fade to black (audience anticipates gunbarrel).
We're still on a black screen (audience starts to get a bit restless, wondering whether the projector's broken down or something).
CRAIG'S VOICE (offscreen, voice over): The name's Bond, James Bond.
Fade in on Bond in closeup, smiling seductively at someone.
BOND: I admire your work. Perhaps you could give me a private viewing. (Or cheesy chatup dialogue to that effect.) We cut to:
An attractive woman, also in closeup. It's clear she's being chatted up by Bond. It's clear she's enjoying it, too. And then we see from her eyes that something's wrong. She tries to peer behind Bond at something. Cut to:
Bond in closeup. He notices the woman is alarmed by something. What's behind him? He turns to look. Camera pulls back.
Another woman has arrived on the scene, and she seems terribly angry. Cut to:
Bond and his girlfriend leaving the bar/restaurant/art gallery/wherever. Bond is unconvincingly apologising for hitting on the other woman. His girlfriend, however, is exasperated by his inability to stop his eye from roving, and they have an angry fight, possibly in a rainy alley or somewhere suitably melodramatic. Bond tries to calm her down at first, but quickly grows impatient and finally enraged. He humiliatingly dumps her on the spot and goes off on his own to get drunk. (Obviously, setting up Bond's cavalier treatment of women sets up the character-changing payoff he gets with Vesper.) We cut to:
Bond in a bar, ordering a scotch or something. He's downing it when his mobile rings or his beeper beeps.
It's his Navy/SAS/whatever team. An urgent crisis. Bond is needed immediately on the other side of town.
BOND: I'll be right there, sir. (To himself) Good grief. (To the barman) Another, quick.
Bond gulps down his drink and then his new one, and leaves.
Bond turns up at the crisis. Some action. Bond does something extremely heroic and saves the day in truly spectacular style. We find out later that this act of massive bravery brings him to the attention of MI6. We cut to:
Opening credits sequence, complete with theme song (probably by a Sony artist) - hey, you gotta have some of the old trademarks, and, besides, I'd hate to think of CR with just David Arnold's music. We cut to:
The rest of the film, with the gunbarrel at the end and the James Bond Theme playing over the closing credits.