285 replies to this topic

[capungo]

Hey y'all, don't think this has been done before, and I thought it might be interesting to give credit to some of the cinematography choices of Bond. In short, what's your favorite single shot in a James Bond film, and why?

The one that always sticks with me is in the very beginning of OHMSS, when Bond arrives at that hotel/casino. The shot looks out onto the pool, and fades into night with the "CASINO" sign reflecting off the water. What I love so much about it is that, perhaps more so than any other shot, it immerses you into the Bondiverse. With that beautiful fade, you really feel like Bond ready to do your daily routine of winning at the baccarat tables and wooing in the hotel rooms.

Your turn folks

Edited by capungo, 03 February 2007 - 06:57 PM.

[dodge]

Okay if I cheat and take two?

Top choice without doubt: the bathroom scene after Bond's poisoning. The lighting, the angle of the shot captured his panic and delerium to perfection.

Close second: Near the opening of GE. After his tryst with the shrink in his car, the camera rises, then descends--from day to night--from the road to the grand casino. There's an elegant, economical, beautiful bit of magic that still takes my breath away,

[michael005]

In an otherwise disappointing film known as Die Another Day, there is an absolutely amazing shot that lasts for only a second or two in Raoul's office. The camera is positioned above the ceiling fan looking down on Raoul and Bond as they are smoking and examining the diamonds. One of my favourite shots in any movie.

[Ernst Stavro Blofeld Jr.]

I agree with the bathroom scene after being poisoned, just a great atmospheric shot that lets you get the feeling that Bond's vision is blurred.

I also love the transitional shot from GoldenEye that was mentioned as well as the OHMSS casino pool.

[Publius]

Kara: "Did you hear?"
Bond: "Hear from Georgi? Yeah...I got the message."

[erniecureo]

Hmmm...favorite? Can't do it. Too many. I like the OHMSS shot as well--it's brilliant. Did you notice it's not a real reflection? The water ripples too fast. It was obviously shot afterwards and superimposed. Nevertheless, it works as you described.

As for my faves, I'll throw out a few.

The "Bond, James Bond" line in GF--there's a reason it's been duplicated so many times. It's perfect, down to the zoom and dolly work.

The pullback to reveal the DB5 when Q says, "You'll be driving this Aston Martin DB5.". It's such a blatant "wow" moment. I dig it.

The aerial shot of Rio in Moonraker. Just a perfect location shot.

[00Twelve]

I too love the camerawork in the "dirty martini" scene, but as far as a single shot, the closeup of Craig attempting to drown the contact at the beginning is a shot that made me know that this would be a different Bond experience, and a better one.

Also, you just gotta love the idea behind the shot from Largo's pool as the water slowly (not slowly enough) turns red and the men walk away. Good intention, but would have required a higher rating or better special effects to have been a very memorable shot. It got the point across, though, which was always the intent.

Worst: Gotta be the Octopussy "boob zoom."

[Dell Deaton]

If you can indulge me, I've got to really cheat on this one, and reference a unique "type" of shot that I watch for in every James Bond 007 film.

It's a coordinated action shot, which, as I understand, is tough to do in cinematography.

By way of illustration, think of the scene where General Orlov's Mercedes is lifted by crane out of the water where it's landed after having been hit by the train in Octopussy. This is expertly coordinated w/ General Gogol's helicopter taking off in the background. Two cues that had to be precisely timed to make the shot work. Off the top of my head, it seems like there is another example in Tomorrow Never Dies, where Bond is walking up to the hotel where Dr. Kaufman will confront him in his room; the camera moves off of Bond as the tow truck (which will be key to the garage sequence) passes.

Please forgive me if I'm coming across like a kid in the candy store here. But I've been pointing these scenes out to friends for years when we watch 007 films. Sort of like "collecting" trivia for me. If I could find a way to articulate what I'm referring to hear in a brief headline, I'd start a thread to see if anyone else sees them ~ across all the films.

For now, thanks for letting me share it generally here.

[crheath]

Mine's easy. The crane shot in YOLT, where Bond is running on a rooftop being chased my a dozen henchmen. The shot pulls back higher and higher to John Barry's action music till we're up in the sky, looking down at the whole roof and all of the men are merely moving dots.

Edited by crheath, 02 February 2007 - 11:36 PM.

[Turn]

I like the YOLT shot on the roof top as described above as well as the OHMSS shot of Bond and Tracy escaping the farm house and the SPECTRE agents in pursuit. I think that was one of aerial cameraman Johnny Jordan's shots.

[capungo]

Kara: "Did you hear?"
Bond: "Hear from Georgi? Yeah...I got the message."

Another personal fav. I keep on alternating whether I see pain or rage in Dalton's eyes in that shot. Either way, it's intense. Definitely a definitive moment in how I got to love Dalton's Bond.

Hmmm...favorite? Can't do it. Too many. I like the OHMSS shot as well--it's brilliant. Did you notice it's not a real reflection? The water ripples too fast. It was obviously shot afterwards and superimposed. Nevertheless, it works as you described.

Wow, can't say I did notice it. Now that I think about it though, it is a bit of an impossibly beautiful shot.

Edited by capungo, 03 February 2007 - 03:08 AM.

[mccartney007]

There are a couple different ones off the top of my head:

1) The aerial shot of Bond running across the rooftops after Mollaka who is fleeing on the ground.

2) The swoopy camera movement as Bond reveals himself to Goodhead in Venice.

3) The shot from above the fan in DIE ANOTHER DAY is another good'un.

[thecasinoroyale]

- The ariel YOLT roof-chase is fantastic, showing hardcore Bond battering the bad-guys over numerous struggles and with the music. Great!

- In CR, after Bond drinks the dirty martini, the pull zoom when he looks at the glass and we see that he understands what has happened. Panic, fear and dread in a single shot.

- In AVTAK, the final confrontation on the Golden Gate Bridge, some fantastic establishing shots of the duel and the sheer magnifence of what Bond and Zorin are doing. Great work.

[doublenoughtspy]

I love the OHMSS casino reflection shot as well.

The one that gives me goose bumps is Dalton's "reveal" in TLD.

Turning to the side with the wind in his hair, in the black assault suit - an intense look on his face.

Magical.

[Loomis]

The OHMSS casino reflection shot is my all-time favourite, and not just a triumph of cinematography but also one of editing, music and, erm, probably visual effects or whatever as well. One of the most beautiful and sophisticated moments in the series, and a truly classic image that just says "Bond".

CASINO ROYALE is full of excellent shots: the child running through the rain, the close up of the cocktail glasses, and that first - somehow very "iconic" (whatever that means - you know what I'm talking about even if I don't ) - shot of Le Chiffre*, being three that spring to mind immediately. Overall, I'd say that CR is the best-shot Bond film, despite stiff competition from OHMSS and YOU ONLY LIVE TWICE, in particular.

And even though, on paper, it's nothing to get excited about, the first shot of THE MAN WITH THE GOLDEN GUN is very beautiful, setting a romantic, mysterious, exotic atmosphere that envelops the film throughout (in my book, at least).

*ETA: Oh, and how could I forget the shot of Valenka looking out over the hotel room balcony as Le Chiffre comes in? So mysterious, so Cold War espionage-y, so.... it has a je ne sais quoi (That's enough pretentious gushing - Ed.). Seriously, though, CR is a real visual delight and Phil Meheux definitely deserves a heck of a lot of praise for his huge contribution to this masterpiece of a Bond film.

[the other fellow]

Yeah, so many to choose from.
All the shots already posted are great.
I think my favorite has to be Draco's 3 helicopters approaching Piz Gloria with the shot of the rising sun in the background as the centre helicopter moves to right of screen.

[Walking my rat]

From The Spy Who Loved Me: during Bond's first journey to Atlantis, as the boat approaches, Stromberg watches it from a window, and his reflection looms over the vehicle. I always thought that was a beautiful shot.

[DamnCoffee]

I love the Bathroom/Poison scene in CR, the lighting is just perfect . I also loved the shots of the Collapsing House in Venice aswell as the slow panning shot on Whites Villa.

[ComplimentsOfSharky]

There's a scene near the end of OHMSS - after George rolls down the hill, he shoots at Blofeld on the bobsled track. For a second you are almost looking down the sights of his gun. Love that one.

CR- Daniel's Bond, James Bond.

Daniel sitting alone at the table after he's just lost everything.

Vesper's death.

DN - Connery's Bond, James Bond.

TLD - Tim's Aston Martin rounding a snowy curve while he listens to jazz.
PTS- Tim is revealed.


Guilty PLeasure Award: TND - After swinging across the giant chasm that is the stealth boat, Pierce casually walking toward the control room with an MP5K...then even more casually riddling said control room with bullets.

[MR. BOND 93]

Definately the YOLT roof scene for me.

[Icephoenix]

Oooh so many to choose from. But a few from Casino Royale which I loved...

1) The transition from the Bahamas to Miami: Bond's DB5 roars away from the One and Only Club, the camera tilting sideways and cuts right to Bond's Cab in Miami speeding away and finishing the tilt. Magic.

2) The first shot we see of Vesper underwater as she looks solemnly at Bond - and the shot where she screams and pulls away. Very haunting.

[Double-0-7]

Hmmm...favorite? Can't do it. Too many. I like the OHMSS shot as well--it's brilliant. Did you notice it's not a real reflection? The water ripples too fast. It was obviously shot afterwards and superimposed. Nevertheless, it works as you described.

As for my faves, I'll throw out a few.

The "Bond, James Bond" line in GF--there's a reason it's been duplicated so many times. It's perfect, down to the zoom and dolly work.

The pullback to reveal the DB5 when Q says, "You'll be driving this Aston Martin DB5.". It's such a blatant "wow" moment. I dig it.

The aerial shot of Rio in Moonraker. Just a perfect location shot.

I'm with you - every film seems to have at least one breath-taking shot that sticks in your mind.

But right up there at the top of the list is the casino scene where we get a glimpse of CBn's own Erniecureo!

[Hergersheimer]

Guilty PLeasure Award: TND - After swinging across the giant chasm that is the stealth boat, Pierce casually walking toward the control room with an MP5K...then even more casually riddling said control room with bullets.

The music in this shot gives me goosebumps every time.

Also from TND, how the camera is framed during Dr. Kaufman's execution. Just Bond's steely gaze, and the shell casing flying by.

Edited by Hergersheimer, 03 February 2007 - 07:12 PM.

[ChronoBreak]

Definately the YOLT roof scene for me.

Agreed, such a spectacular moment.

In CR, I love the shot of Bond after he throws Molaka out of the window in the embassy - When he runs and "pounces" through the window frame, the camera follows very closely behind him and it makes for a thrilling shot.

For a third choice, I have to give points to the pretitles of OHMSS - The quick zoomout that reveals Bond chasing Tracy into the surf is just excellent. The colors, the music, the fact that the zoomout is so focused while capturing the franticness and confusion of the moment... it all works.

Edited by ChronoBreak, 03 February 2007 - 07:58 PM.

[ComplimentsOfSharky]

Definately the YOLT roof scene for me.

Forgot about that one...both brilliant and hilarious.

[Major Tallon]

I'll nominate three aerial shots: 1) Bond and Elektra jump from the helicopter and start skiing, the airborne camera circling around them; 2) the junk with Bond and Wai Lin enters Ha Long Bay at sunset; 3) Bond and Vesper's yacht sails into the Grand Canal, Venice. All visually striking.

[DaveBond21]

So many good ones:-

Some of my favourites:_

My Top shot - TLD - the PTS, there is an incredible shot of the jeep exploding, from Bond's point of view, in his parachute.

- Moonraker - as Drax's dogs pull Corinne to the ground, the camera moves up to show the sun through the trees before we are taken straight into Venice.

- the YOLT fight from above

- TSWLM - as the Lotus enters the water

- FYEO - Bond & Melina talking in the horse-drawn sleigh.

[erniecureo]

[quote]But right up there at the top of the list is the casino scene where we get a glimpse of CBn's own Erniecureo! [/quote1]


(blushing) Cheers!

[Harmsway]

The OHMSS casino reflection shot is my all-time favourite, and not just a triumph of cinematography but also one of editing, music and, erm, probably visual effects or whatever as well. One of the most beautiful and sophisticated moments in the series, and a truly classic image that just says "Bond".

Oh, I adore that one.

CASINO ROYALE is full of excellent shots: the child running through the rain, the close up of the cocktail glasses, and that first - somehow very "iconic" (whatever that means - you know what I'm talking about even if I don't ) - shot of Le Chiffre*, being three that spring to mind immediately. Overall, I'd say that CR is the best-shot Bond film, despite stiff competition from OHMSS and YOU ONLY LIVE TWICE, in particular.

And even though, on paper, it's nothing to get excited about, the first shot of THE MAN WITH THE GOLDEN GUN is very beautiful, setting a romantic, mysterious, exotic atmosphere that envelops the film throughout (in my book, at least).

*ETA: Oh, and how could I forget the shot of Valenka looking out over the hotel room balcony as Le Chiffre comes in? So mysterious, so Cold War espionage-y, so.... it has a je ne sais quoi (That's enough pretentious gushing - Ed.). Seriously, though, CR is a real visual delight and Phil Meheux definitely deserves a heck of a lot of praise for his huge contribution to this masterpiece of a Bond film.

I'm with you on all of that.

CASINO ROYALE has one fantastic shot after another and I could gush about them all. You've mentioned a few great ones already. One of my absolute favorites in CASINO ROYALE is the shot looking up at the trees with the rain during the "Bond in recovery" sequence. Something about it stays with me.

[Problem Eliminator]

My favorite is the tracking shot of Bond walking beside the Orient Express as Grant "shadows" him inside the train in FRWL.

I agree with those that like the OHMSS "casino reflection in the pool" shot, but it is hampered for me by the fact that the water ripples don't match AT ALL. It's like they were taken from a one foot by one foot tub of water when they are supposed to be in a large pool. I know it was the 60's but c'mon!

As it seems to be popular to praise a shot from CR, I'll do the same. I love the one in the "free running" sequence when Bond and Mollaka are both in frame "jumping down" at the same time, 007 in the upper right a level or two higher than his target. Brilliant!