285 replies to this topic

[DamnCoffee]

It's water?

But yes, I agree with you, that shot is fantastic.

[Critch]

The bathroom scene in Casino Royale, it looks so gritty and realistic.

[DaveBond21]

I've always liked this shot of Blayden Safehouse in The Living Daylights. It is really Stonor House, in Oxfordshire.

Attached Files

•  Blayden_Safehouse_TLD.jpg   40.75KB   29 downloads

[Shot Your Bolt]

My favorite shot is when Bond runs up the outdoor steps to the next switchback to shoot the assassin's car. Its a cool shot, but it also sums up the gripping, suspenseful espionage thriller that is FYEO. Because he's not superhuman when he does this, he's an older guy in reasonably good shape who's quite out of breath and obviously wishing he was not having to run up a mountain.

Edited by Shot Your Bolt, 17 September 2008 - 02:25 AM.

[DaveBond21]

My favorite shot is when Bond runs up the outdoor steps to the next switchback to shoot the assassin's car. Its a cool shot, but it also sums up the gripping, suspenseful espionage thriller that is FYEO. Because he's not superhuman when he does this, he's an older guy in reasonably good shape who's quite out of breath and obviously wishing he was not having to run up a mountain.

Here it is, and the following kicking of Locque's car off the cliff.

Attached Files

•  FYEO_Bond_shoots_at_Locque_s_car.jpg   71.61KB   32 downloads
•  FYEO_Kicking_Locque_off_the_cliff.jpg   77.82KB   25 downloads

[Judo chop]

My favorite shot is when Bond runs up the outdoor steps to the next switchback to shoot the assassin's car. Its a cool shot, but it also sums up the gripping, suspenseful espionage thriller that is FYEO. Because he's not superhuman when he does this, he's an older guy in reasonably good shape who's quite out of breath and obviously wishing he was not having to run up a mountain.

I love this shot. It’s probably my favorite sequence in the entire Moore era, next to (or maybe tied with) the parachute jump.

I proposed that it get reused in the Craig era. Not the location, but the concept. Bond having to run up an ungodly length of stairs, this time with a little more of that Craig realism. They made Rog too impossibly fit. Craig could sell the pain of a searing lung pitted with desperation.

[BoogieBond]

My favorite shot is when Bond runs up the outdoor steps to the next switchback to shoot the assassin's car. Its a cool shot, but it also sums up the gripping, suspenseful espionage thriller that is FYEO. Because he's not superhuman when he does this, he's an older guy in reasonably good shape who's quite out of breath and obviously wishing he was not having to run up a mountain.

I agree its a great shot.
Even found Rog's commentary on that scene raised a smile with me.
"Oh dear, I remember those steps, I wouldn't like to do that today....In fact I couldn't do that today"

[00Twelve]

There wasn't much from the Hamilton-directed Moore films that I found to be stunning in terms of camerawork, but I found a few that stuck out for me:

- The descending shot of the singer as Bond's table sinks into the floor at the Fillet of Soul.

- The overhead tracking shot as Adam in Billy Bob's boat outpaces all the other pursuit boats and closes in on Bond.

- The closeup of the Golden gun after Scaramanga has assembled it during Bond's monologue about killing killers. Best shot of the gun by far, IMO.

- Also a fan of the trick shot where Bond bumps into the glass pane in the funhouse.

[DaveBond21]

The closeup of the Golden gun after Scaramanga has assembled it during Bond's monologue about killing killers. Best shot of the gun by far, IMO.

Is this the one you mean, 00Twelve?

Attached Files

•  Golden_Gun.jpg   101.46KB   34 downloads

[Bondian]

Nobody has mentioned Isabella Scorupco's infamous "crutch shot" yet.

For me, I love the jump across the crocs and ali's in Live and Let Die.

Hope this qualifies?

[Bondian]

Nobody has mentioned Isabella Scorupco's infamous "crutch shot" yet. Oh pleeeeeeeeeeeeeeaaaaaaaaaaaaaaassssssssssssssseeeeeeeeeeeeeeeeeeee. You men, you are such monkey's
For me, I love the jump across the crocs and ali's in Live and Let Die.

Hope this qualifies?

Favourite camera, shot in a Bond film, that would be the Olympus OM4 then.

"Standard masculine operation. Boys with joys".

[trevanian]

I can't think of a single shot in Casino Royale (2006) that I like. I'm disappointed in the flat, floodlight look of that film. It needed to be lit as a noir, for mood and atmosphere like Casablanca only in color. It is the least interesting of all the Bond films from a visual aesthetic. It has no aesthetic.

You don't like the panoramic shots of Venice or the train snaking through the countryside?! Thay're certainly not "flat" or "floodlit".

Actually, the train shot was pretty blah as I recall. I don't even remember establishing shots of Venice. There was all that blue water where Bond recuperated, but that looked seriously like the color was pumped up artificially during a digital intermediate session, like the way the 'white/overexposed' look was artificially achieved in the bathroom. When you play with light, you should use light, not fake it by turning the gain up. That is cheap in a star trek next generation kind of way, not worthy of a bondflick.

It amazes me this is the same guy who shot GOLDENEYE, since that actually had black shadows and really good contrast. CR should have looked more like the graveyard of statues scene in GE, instead of just murky.

CR looked very 'affected' rather than photographic ... ironic, since it was shot on glorious 35mm film.

[DamnCoffee]

Just watching GoldenEye now. I love the camera and lighting in the Interrogation scene with Mishkin.

I thought I'd bump this thread up, since we have a film full of interesting camera shots and angles, which should spark some area for discussion...

Quantum of Solace:

• Beautiful Opening - the helicopter shot of the camera swooping across the lake, intercutting with the car chase is breathtaking.
• The shots of the rooftops in Sienna, when the title card appears, just before Bond enters the safehouse.
• Bond and Mitchell going through the art gallery roof.
• The whole of the Opera Scene, especially the arty, silent restraunt shootout.
• The beautiful shot of Fields lying on the bed, covered in oil.
• When Bond decides to change hotels with Fields, there is a shot of a stone bird, the camera is upside down and it turns over to reveal the La Paz hotel.
• The shot of Greene running away from the explosions in the Perla De Las Dunas hotel.
• When the Boat goes over Bonds head during the boat chase.
• The shot of the lizard slithering over the rock in the desert, very 60's Bond, very Fleming.
• Bond sitting in Yussefs apartment, in the dark, in Russia.
• The beautiful shot of Bond walking away from M. She's in the background getting smaller and smaller. (No jokes on her height, please )

[DaveBond21]

Just watching GoldenEye now. I love the camera and lighting in the Interrogation scene with Mishkin.

I thought I'd bump this thread up, since we have a film full of interesting camera shots and angles, which should spark some area for discussion...

Quantum of Solace:

• Beautiful Opening - the helicopter shot of the camera swooping across the lake, intercutting with the car chase is breathtaking.
• The shots of the rooftops in Sienna, when the title card appears, just before Bond enters the safehouse.
• Bond and Mitchell going through the art gallery roof.
• The whole of the Opera Scene, especially the arty, silent restraunt shootout.
• The beautiful shot of Fields lying on the bed, covered in oil.
• When Bond decides to change hotels with Fields, there is a shot of a stone bird, the camera is upside down and it turns over to reveal the La Paz hotel.
• The shot of Greene running away from the explosions in the Perla De Las Dunas hotel.
• When the Boat goes over Bonds head during the boat chase.
• The shot of the lizard slithering over the rock in the desert, very 60's Bond, very Fleming.
• Bond sitting in Yussefs apartment, in the dark, in Russia.
• The beautiful shot of Bond walking away from M. She's in the background getting smaller and smaller. (No jokes on her height, please )

Great list, MHarkin.

[eddychaput]

-The truck drive in the Egyptian desert in TSWLM.

-The monastery scene in FRWL

-The dam scene in Goldeneye

-The 'drive in Switzerland' in Goldfinger

-The helicopter ride up the alps in OHMSS

-Bond walking with Triple X in the desert in TSWLM and with Camille in QOS

[tdalton]

To echo some already mentioned moments:


Bond meeting Greene and his entourage on their way out of the opera as the music dramatically swells, leading to the shootout (best shot in the entire series, IMO).

The shot of Bond leaving Greene in the desert.

The one of Bond sitting in the dark waiting for Yusef.

The final shot of Quantum of Solace befor the gun barrel sequence.

[Austin]

#1:

I'm no Moore fan, but I've got to give top props to a shot in FYEO. I'm quite the sportsman myself, but my stomach turned over the first time I saw Bond fall from the cliff face near the end. With no music. Magic.

Others:

The final shot of QoS. The necklace in the snow. Only Forster would have done that. Absolute perfection.

I don't know why, but I love the shot of all of Le Chiffre's chips when he does his final all in. Campbell does this awesome collective shot of the toppled stacks of plaques and chips and its just really well composed.

The upward shot of Bond and Dryden's contact in the CR PTS. Bond throws him into the wall, the camera follows the man to the floor, then looks back up as Bond hoists him up and begins choking him. That shot alone contained more ficeral, physical action for me than all of Brosnan's stuff put together. It was that moment, I knew I'd like Craig better.

My final favorite is the final pullback in the Consoling Vesper scene. Never saw that side of Bond before. I absolutely loved it.

[Mr. Blofeld]

In QOS, I absolutely loved the shot of the car driving into the safehouse as the camera dollies up to overlook the rooftops of Siena as the wonderful location title for the place fades in over it; simply gorgeous.

[Bondian]

In QOS, I absolutely loved the shot of the car driving into the safehouse as the camera dollies up to overlook the rooftops of Siena as the wonderful location title for the place fades in over it; simply gorgeous.

Yes. I like that's short scene as well.

[Mr. Arlington Beech]

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.

Completely agreed with your top choice, that scene is really great. And that's a good example of when an unsteady cam shot is justified and proper, not for every action sequences like in QOS... Take a lesson from that M. Forster!!

Edited by Mr. Arlington Beech, 27 November 2008 - 02:59 AM.

[Austin]

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.

Completely agreed with your top choice, that scene is really great. And that's a good example of when an unsteady cam shot is justified and proper, not for every action sequences like in QOS... Take a lesson from that M. Forster!!

To clarify...if you want to compare action sequences, that's not a preference of Campbell over Forster...that's a preference of Campbell over Dan Bradley, the action coordinator for Quantum, as well as the Bourne films. I'm sure Marc gave the OK, but the shaky-cam action sequences belong to Bradley (For the record, I understood and appreciated his action sequences...take a look at the interview with Dan Bradley on MI6.co.uk, you'll see his reasoning behind the style). As for Campbell, I was under the impression he directed his own action...anyone can feel free to correct me on that.

[sharpshooter]

I like the shot in QoS where the bus is travelling along the road at dusk, and it slowly dissolves away.

[00Twelve]

Amending/updating my list:

DN
- The shot from behind Sylvia's legs of Bond bursting through the bedroom door

FRWL
- Grant on the train (seen in the windows) following Bond as he walks along the station walkway

OHMSS
- The day/night transition shot revealing "CASINO" reflected in the pool

TSWLM
- Bond in silhouette arriving at Fekkesh's apartment in Cairo

FYEO
- Bond falling down the pillar at St. Cyrils and being caught by his rope

GE
- Bond seeing the reflection of the approaching yacht hand in the brass before napping him in the face with a towel

CR
- Bond's disgust at having had to kill Dryden's contact so uncleanly

- Train to Montenegro

- Vesper applying makeup in the mirror

- Bloodied Bond looking in mirror

- Bond & Vesper in the shower

- Bond inducing vomiting in the bathroom

- Aston roll

- Bond walking up steps past White at end

QOS
- TSWLM homage shot of Aston caught between a big rig to the right and to the front

- Bond/Mitchell falling through skylight

- Bond facing Greene & his entourage in Bregenz lobby while orchestral interlude swells

- Juxtapositioned distant & close shot of Bond & Camille walking in the desert

- Final GF homage shot of Fields just before fading to next scene

- Lizard in Atacama sun

- Bond's catwalk falling as he clings to it during his fight with Greene

- Bond driving away from Greene

- Bond holding Yusef at gunpoint while Corinne, barely out of focus, exits with her "Thank you."

[Double-Oh Agent]

I like the shot in Casino Royale where Bond is in hand-to-hand combat with Mollaka atop one of the Madagascar cranes. As the punches and choke holds go on while the two men cling to the crane, the camera pulls back and moves to the left. As it does, the viewer is allowed to take in the scope and danger of the scene as these two men engage in a life and death struggle hundreds of feet above the ground on a beautiful sunny day.

[tim partridge]

I can't think of a single shot in Casino Royale (2006) that I like. I'm disappointed in the flat, floodlight look of that film. It needed to be lit as a noir, for mood and atmosphere like Casablanca only in color. It is the least interesting of all the Bond films from a visual aesthetic. It has no aesthetic.

You don't like the panoramic shots of Venice or the train snaking through the countryside?! Thay're certainly not "flat" or "floodlit".

Actually, the train shot was pretty blah as I recall. I don't even remember establishing shots of Venice. There was all that blue water where Bond recuperated, but that looked seriously like the color was pumped up artificially during a digital intermediate session, like the way the 'white/overexposed' look was artificially achieved in the bathroom. When you play with light, you should use light, not fake it by turning the gain up. That is cheap in a star trek next generation kind of way, not worthy of a bondflick.

It amazes me this is the same guy who shot GOLDENEYE, since that actually had black shadows and really good contrast. CR should have looked more like the graveyard of statues scene in GE, instead of just murky.

CR looked very 'affected' rather than photographic ... ironic, since it was shot on glorious 35mm film.

I agree with a lot of what you are saying. Visually, I was expecting GOLDENEYE part 2 with CR, meaning lots of graceful camera movement, extreme contrast ratios, smoke, contrast, a minimal colour pallette and anamorphic photography. Instead, we got a very 2K DI'd lightweight homage to the Techniscope and handheld work from THE IPCRESS FILE, but with cramped compositions and mostly medium to long lenses. Don't get me wrong, after DIE ANOTHER DAY it was a welcome return to form, and I always find something exciting in Meheux's compositions (especially when he shoots vertical lines dutched). However, the super35 was such a turn off, and I guess the locations and art direction being much more random (and not having the uniform mutedness of say St Petersburg or even Monte Carlo in 1995) it lent to a very uncontrolled ugliness. The art direction was a real letdown on CR, a true afterthought, IMO. I hate the tone of yellow they painted Dench's office in, I hate how all of the walls in all of the sets are so low with cramped, horizontal ceilings, and I REALLY hate how naff the actual Casino interior looked. What was going on with that completely uncolour coordinated neon blue bar area? None of GOLDENEYE's effortless cool, and I think it's all hurt moreso given how much of CR takes place in a single location which, despite being designed from scratch, seemed to resemble a cheap motorway Travelodge. There's only so much blame you can put on the film having to compromise being shot in the Czech republic. I am sure had Meheux had something similar to the production design seen in GOLDENEYE or especially QOS then his work would have been more attractive to our tastes.

So far I haven't noticed anyone mention HANS VS BOND from YOLT. I ADORE that sequence with the two oppposing wide angle shots lunging into each other as that fight begins.

I have often voiced how Guy Hamilton's direction was so extremely inconsistent, but when he seemed to be inspired by Bond, he could knock you out (though I never ever felt we fully got his all on 007). I think the beginning of the fight with Franks from DAF is incredibly well staged and shot, and I love how the camerawork goes from classical to swaying handheld the moment we get into that elevator. The tension and suspense from when they enter to the first blow by Bond is rather expert. We are really anticipating something rough and unpleasant, even before anythng has happened! Very Hitchcock. If Hamilton had put that much effort into all of his Bond's through and through we'd be soaked in classic moments like this. It's so brutal and sophisticated, but again frustratingly comes out of nowhere in a film set up to be a 1960s Batman style spoof.

Most of the Bogner ski shots from OHMSS are out of this world, IMO. That stuff is nearly forty years old and still blows my socks off each time I see it.

Even though I cannot stand the film, I too think the HALO jump from TND is a knock out. I believe it was shot by Tom Sanders, who also did all of the POV aerial jump work from TLD. From what I remember he jumps with a camera bolted to his helmet. There was just nothing like that HALO shot when it came out. PURE Bond.

The slow mo' shot of the Aston Martin flying over the country road before sighting Vesper in CR was a goosebump moment, too.

Overall the camera work in the Bond franchise never draws attention to itself, even when technically awe-inspiring, which is how it should be, IMO. I still say shots like the glass roof tumble from QOS have no place in Bond.

[Mister E]

YOU ONLY LIVE TWICE has alot of my favorite ones. I am torn between the shot of the waterfall and the sunrise at the village Bond was staying at.

[tim partridge]

I think Lewis Gilbert is inarguably the Bond king of elaborate camerawork (and general visual style), Marc Forster and Peter Hunt shortly after, though I'd also say Guy Hamilton (but only when he makes the effort).

OCTOPUSSY's "Mein Auto" moment is very beautifully filmed, with the reflection of Bond "car-jacking" on the phone booth, and that low angle shot of the car bombing it down the motorway splashing mud into the lens is a true Bond classic.

As already mentioned, those wide angle shots following the Lotus and helicopter in SWLM are breathtaking.

Not really a camerawork moment, but when the lights go on to reveal the Liparus interior.... That's as good as anything Lean or Kubrick did, in my book. I remember seeing that for the first time as a child and the monstrous lump in my throat that I couldn't swallow!

[sharpshooter]

In YOLT, I simply love the shot of Bond and Kissy laying on the grassy mountain as the helicopter flies past. How it is tilted, it is pure magic and bordering on iconic.

[MI6000]

My favorite shot has to be a tracking shot in From Russia with Love when Bond is on the train platform to meet one of Karem Bey's sons and Grant is inside the the train stalking him, in the last pain of glass Grant stops and all you can see in the window is a faint reflection of Grant's face, great, great shot

[Forward Look]

OHMSS aerial cameraman Johnny Jordan clearly provided the best camera shots in the series; his best effort of all was his shot of Piz Gloria from a distance as Bond's helicopter approaches it. The shots of the skiers, the avalanche damage as pointed out by Irma Bunt in the helicopter, and of Bond and Tracy escaping from Blofeld's men on skis, are also memorable moments in the film.