65 replies to this topic

[double o ego]

What the Bond movies need, are the guys who write the british tv show, spooks and then get Haggis to polish and doctor it up.

[Icephoenix]

Charles Leavitt, Jonathan Nolan and Brian Helgeland.

[tdalton]

Charles Leavitt, Jonathan Nolan and Brian Helgeland.

I would definitely be on board for a Brian Helgeland script for Bond 23.

[sorking]

As I said on the already-existing thread on the same subject, a Steven Knight screenplay with a polish by Peter Morgan would knock my socks off.

May I trouble you to post a link to the already existing thread of which you so solemnly speak?

Voila!

http://debrief.comma...p...c=51357&hl=

Although looking back the "Knight screenplay" and "Morgan polish" bits were actually two different posts!

Edited by sorking, 23 November 2008 - 11:12 PM.

[Pierce - Daniel]

Paul Haggis, his work on CR was amazing, bring him back. He did a good job on QOS too.
Ted Griffin
Christopher McQuarrie
Jonah Nolan

[Mister E]

I don't know who Rene Balcer is. What's he done that makes you think he could do Bond?

He has written the best episodes of the LAW AND ORDER series. It's a stretch yes but I'd like to see what he would do with a Bond film ?

Ted Tally completely missed the boat on All the Pretty Horses. More to the point, his serial killer scripts reflect a mind too dark and too bleak for my idea of James Bond. A Ted Tally script would just depress me. He's the reason I've sworn off watching serial killer movies. No more serial killer movies in my life, thank you. Which is not to say he's a bad writer. He's a fine writer, but he's not my idea of a Bond writer.

Ted Tally never depresses me. SILENCE OF THE LAMBS and RED DRAGON had great coloful screenplays and great dialogue. As for ALL THE PRETTY HORSES, I never saw that one.

I gather you are not overly impressed with Purvis & Wade, then? Expound, please.

Are you asking why I don't P&W or why I think Koepp isn't that good of a writer ?

[Harmsway]

Ted Tally never depresses me. SILENCE OF THE LAMBS and RED DRAGON had great coloful screenplays and great dialogue.

SILENCE OF THE LAMBS did, for sure. But I don't agree on RED DRAGON, which had a surprisingly so-so screenplay in many respects.

[Mister E]

Ted Tally never depresses me. SILENCE OF THE LAMBS and RED DRAGON had great coloful screenplays and great dialogue.

SILENCE OF THE LAMBS did, for sure. But I don't agree on RED DRAGON, which had a surprisingly so-so screenplay in many respects.

Yes RED DRAGON's screenplay is a bit of mixed bag but I still like it. I think Ted Tally got Francis Dollarhyde dead-on but Will Graham was pretty bland and Dr.Lecter appeared far too many times. I also blame Brett Ratner's mundane direction.

[tdalton]

Ted Tally never depresses me. SILENCE OF THE LAMBS and RED DRAGON had great coloful screenplays and great dialogue.

SILENCE OF THE LAMBS did, for sure. But I don't agree on RED DRAGON, which had a surprisingly so-so screenplay in many respects.

Yes RED DRAGON's screenplay is a bit of mixed bag but I still like it. I think Ted Tally got Francis Dollarhyde dead-on but Will Graham was pretty bland and Dr.Lecter appeared far too many times. I also blame Brett Ratner's mundane direction.

Agreed. I thought that the script for RED DRAGON was pretty good, considering that it was rushed in order to get Hopkins to return to the role for one last time. As you said, I thought he did a great job of getting the Dollarhyde character correct, and I think that with more inspired direction (and perhaps even having Ridley Scott on board) may have made the film into possibly the second best film in the five film franchise (including Manhunter). I think that the screenplay was fairly solid, but it was more a lack of inspired direction that held Red Dragon from being as good as it should have been.

[Zorin Industries]

Most of the names cited thus far are inappropriate at best.

If BOND 23 went with different names no-one on these threads would be anywhere near accurate in guessing who.

[Harmsway]

If BOND 23 went with different names no-one on these threads would be anywhere near accurate in guessing who.

Maybe, maybe not. It's certainly more of a shot in the dark than making educated guesses about BOND 23 director potentials.

That said, if we're going to hypothesize that EON would be looking for another Haggis-type (ala someone of a "name" writer within the industry who has an acclaimed reputation), that does narrow the pool down a little bit. In that scenario, I don't think a name like Tom Stoppard is that far off the mark.

[SecretAgentFan]

A movie begins with the script. If the script isn't good, the movie will be problematic no matter how well produced or directed.

Yawn.

The scripts have been disappointing since the passing of Richard Maibaum (with whom I corresponded).

Oooh, you corresponded with him? Hey, doesn´t that make you biased?

At worst, the work of Purvis and Wade has not been up to a professional standard. Their writing is pedestrian at best (sorry).

Congratulations. You are the first here to dislike the work of P & W. Up until now, I did not even know that their work has not been up to a professional standard. Man, that sucks. And to think that they are successful without writing their scripts according to professional standard. Well, at least you are there for us to find out about it.

By the way, what is professional standard according to you?

A seriously talented writer should be given sufficient time to craft a Bond screenplay without being micro-managed or second-guessed.

Uh-huh. May I ask on which planet a screenwriter is not micro-managed or second-guessed? And may I also ask whether you know anything about the history of the Bond writers (being micro-managed and second-guessed by EON)? Well, Mr.Maibum may have forgotten to mention that in your correspondence.

I suggest one of the following writers be considered:

David Koepp
David Mamet
Christopher Nolan
Tom Stoppard

Do you know anything about these writers?

David Koepp (Spielberg´s "closer" is more of a Popcorn writer than P & W ever were)
David Mamet (would surely love to be micro-managed by anyone, stay on for a couple of pictures and definitely love the anti-semitic writing of Ian Fleming)
Christopher Nolan (try his brother)
Tom Stoppard (a respected dramatist who actually stopped being the in-demand script doctor in the 90´s.)

[Zorin Industries]

A movie begins with the script. If the script isn't good, the movie will be problematic no matter how well produced or directed.

Yawn.

The scripts have been disappointing since the passing of Richard Maibaum (with whom I corresponded).

Oooh, you corresponded with him? Hey, doesn´t that make you biased?

At worst, the work of Purvis and Wade has not been up to a professional standard. Their writing is pedestrian at best (sorry).

Congratulations. You are the first here to dislike the work of P & W. Up until now, I did not even know that their work has not been up to a professional standard. Man, that sucks. And to think that they are successful without writing their scripts according to professional standard. Well, at least you are there for us to find out about it.

By the way, what is professional standard according to you?

A seriously talented writer should be given sufficient time to craft a Bond screenplay without being micro-managed or second-guessed.

Uh-huh. May I ask on which planet a screenwriter is not micro-managed or second-guessed? And may I also ask whether you know anything about the history of the Bond writers (being micro-managed and second-guessed by EON)? Well, Mr.Maibum may have forgotten to mention that in your correspondence.

I suggest one of the following writers be considered:

David Koepp
David Mamet
Christopher Nolan
Tom Stoppard

Do you know anything about these writers?

David Koepp (Spielberg´s "closer" is more of a Popcorn writer than P & W ever were)
David Mamet (would surely love to be micro-managed by anyone, stay on for a couple of pictures and definitely love the anti-semitic writing of Ian Fleming)
Christopher Nolan (try his brother)
Tom Stoppard (a respected dramatist who actually stopped being the in-demand script doctor in the 90´s.)

Yes. Indeed.

"Professional standard"...? Someone better tell Purvis and Wade's agent that they are not professional AND that every Bond film for the last 20 years has been awful.

I love the names that crop up when these discussions emerge. There is also the factor of "working relationships"... people are brought in who are trusted, likeminded, good company and able to work for the period needed. Multiplex names like Nolan and Stoppard (whilst good, fair choices) are not always the ones who get cherry picked. Also - quite a few writers bash out some ideas and drafts, then move on without anyone online ever finding out about it.

What the Bond movies need, are the guys who write the british tv show, spooks and then get Haggis to polish and doctor it up.

Well not the writers of the derivative Brosnan-lite dirges that I've seen recently.

[Harmsway]

Multiplex names like Nolan and Stoppard (whilst good, fair choices) are not always the ones who get cherry picked.

Sure. Stoppard just sticks with me a bit because of back when he was rumored for BOND 22 (along with Roger Michell, who we know was involved). It seems that Stoppard may have been approached.

At any rate, if Paul Haggis doesn't return, which I find increasingly likely, I do imagine that EON will want a screenwriter of some level of acclaim or notoriety involved on some level, if only for the prestige factor, which seems to be something Babs and Mikey are liking these days.

[sorking]

A movie begins with the script. If the script isn't good, the movie will be problematic no matter how well produced or directed.

Yawn.

The scripts have been disappointing since the passing of Richard Maibaum (with whom I corresponded).

Oooh, you corresponded with him? Hey, doesn´t that make you biased?

At worst, the work of Purvis and Wade has not been up to a professional standard. Their writing is pedestrian at best (sorry).

Congratulations. You are the first here to dislike the work of P & W. Up until now, I did not even know that their work has not been up to a professional standard. Man, that sucks. And to think that they are successful without writing their scripts according to professional standard. Well, at least you are there for us to find out about it.

By the way, what is professional standard according to you?

A seriously talented writer should be given sufficient time to craft a Bond screenplay without being micro-managed or second-guessed.

Uh-huh. May I ask on which planet a screenwriter is not micro-managed or second-guessed? And may I also ask whether you know anything about the history of the Bond writers (being micro-managed and second-guessed by EON)? Well, Mr.Maibum may have forgotten to mention that in your correspondence.

Spot on SecretAgentFan. It's not untypical to see the writers blamed by fans who don't know how the full process works, mind you. To refute 'professional standards' while insisting that a Bond writer be left alone indicates a fatal misunderstanding of how the industry in general - and writing for Bond in particular - operates.

[Mister E]

Most of the names cited thus far are inappropriate at best.

If BOND 23 went with different names no-one on these threads would be anywhere near accurate in guessing who.

I have no realistic exptations for most directors or writers I name for Bond 23. Mostly because not a person on this entire board could possibly have any idea who either would be.

David Mamet (would surely love to be micro-managed by anyone, stay on for a couple of pictures and definitely love the anti-semitic writing of Ian Fleming)

[Quincy]

The Nolan bros. But if you think of it the script for CR/QOS wasn't that bad. CR was quite superb IMO.

[SecretAgentFan]

Richard Maibaum's script, written in collaboration with Peter Hunt, stands as one of the most literate, intelligent, subtle, and clever writing of the entire series. It's an elegant, graceful script faithful to the letter and spirit of Fleming, who has always been the source of strength for the films.

So, did you really read all of his drafts for that one? Or are you one of those who believe they know the script when they have seen the finished movie?

Really, Richard, your whole logic seems to give you away as a 12 year old geek who claims to know what he is talking about but clearly does not know anything about the filmmaking process.

[Zorin Industries]

Why assume that a Bond script needs to be written and then rewritten by someone else? Why not just have one writer who knows what he's doing and doesn't need help?

Because no script is created, structured and translated onto the screen like that.
I was raised under the old adage that anyone who needs to ask for help ought not to start out in the first place.

Film making does not see its key exponents working in a vacuum.

David Mamet never ceases to astonish me. He understands genre writing on an intuitive level. He's my first choice for a Bond script. Let him start from scratch and without collaboration. He is not English, and if the producers feel his script needs to be "Englishified" let an English writer adjust the syntax of the dialog without changing it.

The dialogue is not what "Englishifies" a Bond movie. There is a sensibility, tone and timbre to the writing of a Bond film that keeps the character British. Dialogue is the least of it.
[

[Eurospy]

I diagre with having either David Mamet or David Koepp.

Mr. Koepp seems to be at his best with spec scripts (ex.: Panic Room). Although he's constantly hired to write adaptations of one form or another, I never like the end result (The Shadow could have been much better, I detest the Spider-Man films - although Raimi has quite a keen eye and Spidey is one of my favorite characters, and Frank Darabont's Indiana Jones & the City of the Gods is far superior to that patchwork of previous drafts we ended up with).

Mr.Mamet, he does wonders with dialogue and his Spartan is a great spy thriller. But I think that he and and the director completely butchered J.D. Zeik's draft of Ronin, which I've read and found to be far superior (a solid structure, action, dialogue, characterization, plot development, all flow smoothly).

In these last Bond films (going back to the Brosnan Era), there seems to be an obssession in bringing in only directors and writers of drama (and in books - with Faulks).

I don't understand what would be so wrong in bringing in excellent writers of the action-adventure genre who would give their pinky for a stab at Bond.

I'd love that they'd bring back Michael France (a Bond fan)and kept his draft this time.

And based on his Ronin draft, J.D. Zeik could also contribute a great deal for a solid and evenly-balanced Bond pic.

I'd also throw in the brilliant Shane Black, but he seems to take perhaps a bit too long to write a script, according to the speed necessary in creating a Bond film.

The Nolan Brothers would perhaps do marvels with the script, but that means Christopher directing and (altough both his Batman films are part of my favorite movies list) I think he needs to perfect his action-sequences directing, even moreso for a Bond film.

Perhaps Joss Whedon (I'd sacrifice a chicken to read his Batman script).

[Dekard77]

Scott Frank, Steven Zaillian and Paul Haggis

[Quantumofsolace007]

In a perfect world

Story By Michael G Wilson (For Your Eys only and Licence to kill rank in my favourites and I hear he came up with general idea behind Quantum of solace)

Scipt by David Goyer. ((not only can the man write a decent action thriller but he is true to the source material. Both reasons put him in my mind at writing a great bond film. He is the unsung hero for Batman Begins and The Dark Knight)

Polish by Paul Haggis. (I'll forgive him for the dumb vesper child idea because CR and QOS rank in my top 5 favourite bond films)

toss a fleming title on it like the hildebrand rarity or The property of a lady or risico. And you have one aawesome bond film


directed by Gullermo Del Toro (I've recently rewatched Blade 2 and i must say it wasn't as bad i rembered it I think Toro could do a good job)

Title song by Yes


and there you go plot forth coming lol

[pgram]

CR had a great script thanks to Haggis the relationship with Vesper was perfectly crafted, some of CR's dialogue was fantastic I'm thinking The Bond/Mathis scene.

Casino Royale needed a page-one rewrite. The basic story is there, but it's a royal mess.

We'll have to agree to disagree on the Bond / Vesper relationship. That's what disappointed me the most.

In the novel, Vesper is a double-agent. She betrays Bond out of conviction, before the story starts. He doesn't know that. As the story progresses she gradually falls in love with him, then enters into a romance, but she continues to press the betrayal. She is conflicted, and it hurts her. Like Bond, she has to do her job regardless of personal feelings. This allows the emotional tension between them to build in intensity. Eventually Vesper can't stand it anymore and commits suicide.

In the movie Vesper's betrayal comes to late in the story.Vesper of the film doesn't have the arc and complexity of the Vesper in the novel. The Vesper of the film doesn't take the risks or expose her vulnerability like in the novel. Her motivation is "updated." By substituting blackmail for conviction, Vesper is reduced to the most shallow kind of feminist stereotype, which I suppose was the whole point of the changes. There's no foreshadowing of her betrayal. Suddenly it's there, two hours into the film, as the transition into a postscript after the main action is done, a kind of fourth act (and incidentally the best part of the movie). Also, the blackmail occurs off-screen, not as backstory, but as an after-thought explained in dialog. Vesper is a cypher for politically correct put-downs, criticism, whining, and bombastic, expository dialog. The subtext to her banter is backhanded. Listening to her dialog is like watching an episode of Oprah. Please, no more Purvis and Wade screenplays.

The first Bond scripts DN, FRWL, GF and TB are still the best scripts, FRWL in particular the film is razor sharp and the writting is so perfect it makes the actors job easier, I mean Kerim Bey and Bond on screen together is electrifying stuff, some of the best dialogue ever writtern in a film is in FRWL, one of the best films ever made imo.

I agree wholeheartedly.
I would add On Her Majesty's Secret Service to the list. Richard Maibaum's script, written in collaboration with Peter Hunt, stands as one of the most literate, intelligent, subtle, and clever writing of the entire series. It's an elegant, graceful script faithful to the letter and spirit of Fleming, who has always been the source of strength for the films.

That was a perfect post, if there ever was one... couldn't agree more.

[Eurospy]

Concerning David Goyer: yes he does tend to be forgotten when TDK is mentioned. His plan for the trilogy was to have Harvey turned into Two-Face at the end of the second movie and be the villain for the third. The thing with Christopher Nolan is that he likes to put evrything there is in the story, as long as it fits. I praise him for it, since it seems the rule nowdays to save stuff for the next movie in the franchise (whichever franchise it may be).

Begins seems Goyer's best work to date (haven't read his scripts for Venom nor Ghost Rider, though). He let me down with Blade: Trinity, but everybody makes mistakes. His Blade II, Jumper, Dollman Vs. Demonic Toys (LOL) left me a bit cold.

Guilhermo Del Toro is the fanboy professional-type, which leaves me intrigued about what his take on Bond would be like. But the big problem with Bond: no monsters in it. And the man adores monsters (I thought he royally kicked bottom with Hellboy II).

Concerning Haggis: as long as he does the rewrites/polishes, he'll remain fantastic. I suspect that if he wrote an entire script by himself, they'd have to do the opposite and bring in writers of the action/thriller variety to give his script a slight reworking.

[Harmsway]

Concerning David Goyer: yes he does tend to be forgotten when TDK is mentioned. His plan for the trilogy was to have Harvey turned into Two-Face at the end of the second movie and be the villain for the third.

Almost right. Goyer's plan for the trilogy was to have the second film feature Dent's/Gordon's/Batman's takedown of the Joker, and that's all. The third film would then follow Dent's disintigration and transformation into Two-Face, at the hands of the Joker.

Begins seems Goyer's best work to date (haven't read his scripts for Venom nor Ghost Rider, though). He let me down with Blade: Trinity, but everybody makes mistakes. His Blade II, Jumper, Dollman Vs. Demonic Toys (LOL) left me a bit cold.

Yeah, but even then, his script for BATMAN BEGINS was a bit mediocre. Hardly excellent. The guy's terrible with dialogue, and I don't really think he's what the doctor ordered for the Bond franchise.

[Quantumofsolace007]

Concerning David Goyer: yes he does tend to be forgotten when TDK is mentioned. His plan for the trilogy was to have Harvey turned into Two-Face at the end of the second movie and be the villain for the third. The thing with Christopher Nolan is that he likes to put evrything there is in the story, as long as it fits. I praise him for it, since it seems the rule nowdays to save stuff for the next movie in the franchise (whichever franchise it may be).

Begins seems Goyer's best work to date (haven't read his scripts for Venom nor Ghost Rider, though). He let me down with Blade: Trinity, but everybody makes mistakes. His Blade II, Jumper, Dollman Vs. Demonic Toys (LOL) left me a bit cold.

Guilhermo Del Toro is the fanboy professional-type, which leaves me intrigued about what his take on Bond would be like. But the big problem with Bond: no monsters in it. And the man adores monsters (I thought he royally kicked bottom with Hellboy II).

Concerning Haggis: as long as he does the rewrites/polishes, he'll remain fantastic. I suspect that if he wrote an entire script by himself, they'd have to do the opposite and bring in writers of the action/thriller variety to give his script a slight reworking.

Which is why Goyer is the unsung hero. I just think a goyer script with a haggis polish would be perfect. and Goyer and Del Toro worked together on Blade 2 which was pretty good.



though i could easily argue goyer's ideas for the Dent being the villian in batman 3 would of been stong and an easier route to go. this is a bond forum not batman. (though i have a genral idea how to make Batman 3 even more explosive then the dark knight but once again this is a bond forum not batman)

Haggis is good at polishing 007 scripts I don't want him doing bond on his own partialy because We don't know what he did to Wade and pruvis' Casino Royale or how much of Purvis and Wade's quantum was left in the film. We know Hagiis had an idea for Vesper to have a child which just would of been to far off the 007 track (Risks that futher 007's devlopment are good risks just for the sake of it is stupid)


And Wilson Has come up with some great scirpts in his own right.

For the interesing flemingesque story you have Wilson. For the great action sequences and Fleming scens and characters you have Goyer.

For the polished Dialogue you Have Haggis

for some great Camera work and direction you have Del Torro and there you go.


you'd have a bond film that fans on here could break down and say "oh wow Gala brand is nthis" or "That scene is taking from You only live twice nearly verbatim" etc etc etc.


It just to me seems like fans would get everything they wanted (darker bond, fleming characters and situations. a flemingesque storyline and great direction) and the general pbulic gets what they want (witty duialogue great action sqeunces exotic locales)


Best of both worlds.


in response to Harms way (who posted in the middle of me typing this lol) Haggis would still be there to polish the dialogue. Willson comes up with the story Goyer write it down with some cool action sequences and Haggis finnishes up the dialogue

Edited by Quantumofsolace007, 29 November 2008 - 06:23 PM.

[sthgilyadgnivileht]

CR had a great script thanks to Haggis the relationship with Vesper was perfectly crafted, some of CR's dialogue was fantastic I'm thinking The Bond/Mathis scene.

Casino Royale needed a page-one rewrite. The basic story is there, but it's a royal mess.

We'll have to agree to disagree on the Bond / Vesper relationship. That's what disappointed me the most.

In the novel, Vesper is a double-agent. She betrays Bond out of conviction, before the story starts. He doesn't know that. As the story progresses she gradually falls in love with him, then enters into a romance, but she continues to press the betrayal. She is conflicted, and it hurts her. Like Bond, she has to do her job regardless of personal feelings. This allows the emotional tension between them to build in intensity. Eventually Vesper can't stand it anymore and commits suicide.

In the movie Vesper's betrayal comes to late in the story.Vesper of the film doesn't have the arc and complexity of the Vesper in the novel. The Vesper of the film doesn't take the risks or expose her vulnerability like in the novel. Her motivation is "updated." By substituting blackmail for conviction, Vesper is reduced to the most shallow kind of feminist stereotype, which I suppose was the whole point of the changes. There's no foreshadowing of her betrayal. Suddenly it's there, two hours into the film, as the transition into a postscript after the main action is done, a kind of fourth act (and incidentally the best part of the movie). Also, the blackmail occurs off-screen, not as backstory, but as an after-thought explained in dialog. Vesper is a cypher for politically correct put-downs, criticism, whining, and bombastic, expository dialog. The subtext to her banter is backhanded. Listening to her dialog is like watching an episode of Oprah. Please, no more Purvis and Wade screenplays.

The first Bond scripts DN, FRWL, GF and TB are still the best scripts, FRWL in particular the film is razor sharp and the writting is so perfect it makes the actors job easier, I mean Kerim Bey and Bond on screen together is electrifying stuff, some of the best dialogue ever writtern in a film is in FRWL, one of the best films ever made imo.

I agree wholeheartedly.
I would add On Her Majesty's Secret Service to the list. Richard Maibaum's script, written in collaboration with Peter Hunt, stands as one of the most literate, intelligent, subtle, and clever writing of the entire series. It's an elegant, graceful script faithful to the letter and spirit of Fleming, who has always been the source of strength for the films.

Written in collaboration with Peter Hunt? That's a new one on me! Never heard Peter Hunt collaborated with Maibaum, I would be interested to know the authority for that statement! I am sure he had some input, but surely Hunt was too busy making the movie to be at the typewriter as the word 'collaboration' seems to imply. Plus (as we all know) Simon Raven polished some scenes in OHMSS, as I understand it, at the behest of Hunt himself.
I would also opine that Maibaum did some sterling work on TLD, when he was given an opportunity to go back to Fleming and write for a darker Bond.

As to who should write in the future I have no idea to be honest. Lawrence Kasdan maybe?????

[Eurospy]

Concerning David Goyer: yes he does tend to be forgotten when TDK is mentioned. His plan for the trilogy was to have Harvey turned into Two-Face at the end of the second movie and be the villain for the third. The thing with Christopher Nolan is that he likes to put evrything there is in the story, as long as it fits. I praise him for it, since it seems the rule nowdays to save stuff for the next movie in the franchise (whichever franchise it may be).

Begins seems Goyer's best work to date (haven't read his scripts for Venom nor Ghost Rider, though). He let me down with Blade: Trinity, but everybody makes mistakes. His Blade II, Jumper, Dollman Vs. Demonic Toys (LOL) left me a bit cold.

Guilhermo Del Toro is the fanboy professional-type, which leaves me intrigued about what his take on Bond would be like. But the big problem with Bond: no monsters in it. And the man adores monsters (I thought he royally kicked bottom with Hellboy II).

Concerning Haggis: as long as he does the rewrites/polishes, he'll remain fantastic. I suspect that if he wrote an entire script by himself, they'd have to do the opposite and bring in writers of the action/thriller variety to give his script a slight reworking.

Which is why Goyer is the unsung hero. I just think a goyer script with a haggis polish would be perfect. and Goyer and Del Toro worked together on Blade 2 which was pretty good.



though i could easily argue goyer's ideas for the Dent being the villian in batman 3 would of been stong and an easier route to go. this is a bond forum not batman. (though i have a genral idea how to make Batman 3 even more explosive then the dark knight but once again this is a bond forum not batman)

Haggis is good at polishing 007 scripts I don't want him doing bond on his own partialy because We don't know what he did to Wade and pruvis' Casino Royale or how much of Purvis and Wade's quantum was left in the film. We know Hagiis had an idea for Vesper to have a child which just would of been to far off the 007 track (Risks that futher 007's devlopment are good risks just for the sake of it is stupid)


And Wilson Has come up with some great scirpts in his own right.

For the interesing flemingesque story you have Wilson. For the great action sequences and Fleming scens and characters you have Goyer.

For the polished Dialogue you Have Haggis

for some great Camera work and direction you have Del Torro and there you go.


you'd have a bond film that fans on here could break down and say "oh wow Gala brand is nthis" or "That scene is taking from You only live twice nearly verbatim" etc etc etc.


It just to me seems like fans would get everything they wanted (darker bond, fleming characters and situations. a flemingesque storyline and great direction) and the general pbulic gets what they want (witty duialogue great action sqeunces exotic locales)


Best of both worlds.


in response to Harms way (who posted in the middle of me typing this lol) Haggis would still be there to polish the dialogue. Willson comes up with the story Goyer write it down with some cool action sequences and Haggis finnishes up the dialogue

The big flaw in your idea: too good to to happen. But I'm with you on that, all the way.

BTW: I'd love to hear your Batman 3 ideas. I've got some wishful thinking of my own. Is there a forum where you post about this?

[Quantumofsolace007]

I suppose your right But i honestly don't nkow a lot of Directors or writers. (i'm not even going to suggest acctresses and actors i like most are american and most would make people on hear become physically sick lol)


I will say this Goyer is easily more realistic then the Nolan's. I mean Heck I'd like to see Chris's take on 007 too (so long as it doesn;t interfer with batman 3) but I just don't see it happening Rumour was in 05 Sony said to Bale "batman or bond but you can;t have both" He choose batman which is great I love Bale's Batman and i love Craig's bond.

I don't see Wb all too willing to share Nolan with another franchise.

oh and euro check ur comunique box i sent you a preseant from Gotham City

Edited by Quantumofsolace007, 29 November 2008 - 07:58 PM.

[Harmsway]

Which is why Goyer is the unsung hero. I just think a goyer script with a haggis polish would be perfect. and Goyer and Del Toro worked together on Blade 2 which was pretty good.

Not from a script perspective. The screenplay for BLADE 2 was thoroughly mediocre, and certainly not of the level we should hoping for BOND 23. We need to get some writers who can produce an intelligent product, and "intelligent product" doesn't exactly describe the bulk of David Goyer's work.

I mean, BLADE TRINITY is one of the worst films I've ever seen, and that was entirely his baby.

Willson comes up with the story Goyer write it down with some cool action sequences and Haggis finnishes up the dialogue

Why bother? Goyer's not a great writer, period, even in his writing of action scenes. There's certainly better action writers available. Goyer's sense of storytelling is very pedestrian, whether he's loyal to the source or not. It's best to keep him far away from Bond.