219 replies to this topic

[Byron]

Not very specific but i would like to see Craig Bond:

1) Mountain Climbing - preferably the Alps.
2) With a sniper rifle - maybe a cat and mouse sniper duel between him and a Carlos the Jackal type of Quantum operative. Or he is sent to protect some VIP from assasination and perhaps he fails.
3) Scuba diving - maybe purely for leisure searching for the Hildebrand Rarity whilst on holidays in the Seychelles.
4) Consuming a gourmet meal - not enough of these little details in QOS.

[Daylights]

THE HILDEBRAND RARITY

Cast
Clive Owen.............James Bond
David Hedison (if any)....Felix Leiter
Still To Be Announced..........M
Sir Roger Moore........Q
Richard Kiel...........Kreston Milt
Jesper Christensen.....Mr. White

More cast to be announced!

Cast
Directed by...........John Glen

Plot
James Bond is sent to the deep fjords of Norway, partly to investigate strange activities, mostly to strengthen the Anglo-Scandinavian relationship(as far as the British government is concerned). He infiltrates an authentic fishing community who tells him that fishing has become a poor way of living. Bond learns that the fjords hide a big secret: The wheelchaired villain Mr. Milt (Richard Kiel) has built an "Atlantis II" (Milt's idol is the late mr. Stromberg). From this underwater castle he controls the nordic seas and threatens to release The Hildebrand Rarity, a new fish species that he has designed and breeded in advanced laboratories. The Hildebrand is able to spread to all waters around the World, fresh or salt, in a matter of days, and kill all living water species, causing starvation and general catastrophy. Small communities and countries are forced to pay Krest to avoid this, and Bond needs to put an end to it. But Bond finds out that Krest is just part of a more complex organization. As Mr. White said in QoS - "We have people everywhere."

Quantum is settled as the new SPECTRE, and Mr. White is the new Blofeld.

PS: This story is a standalone story, independent of the time- and storyline in CR and QoS. Therefore, references can be made to TSWLM and other great Bond adventures.

Edited by Daylights, 17 December 2008 - 09:21 AM.

[Qbranchtech]

Let's bring back Corinne and make her one of the Bond girls! Why not include a session of her "personally" thanking 007 for saving her life in the beginning of the film? Just a thought.

Edited by Qbranchtech, 15 December 2008 - 04:41 PM.

[Christopher006]

There's a lot of threads going around with different ideas for Bond 23, I just thought we could have a place where we could all put our ideas in. Captain Tightpants seem to echo my sentiments in another thread. Perhaps the mods could merge this with the other threads?

I'll have my version up soon, hopefully.

Title for Bond 23: I KNOW WHO SCREWED MY FRANCHISE staring Daniel Craig and Lindsey Lohan.

Lets face it. It would be honest about the direction the Bond films have taken in the past two years.

[001carus]

There's a lot of threads going around with different ideas for Bond 23, I just thought we could have a place where we could all put our ideas in. Captain Tightpants seem to echo my sentiments in another thread. Perhaps the mods could merge this with the other threads?

I'll have my version up soon, hopefully.

Title for Bond 23: I KNOW WHO SCREWED MY FRANCHISE staring Daniel Craig and Lindsey Lohan.

Lets face it. It would be honest about the direction the Bond films have taken in the past two years.

Once again, can you understand the history of Bond before blarring this sort of thing? They're trying to go back to the novels, and the most recent films are FAR more accurate to this original source material than anything in the Roger Moore or Brosnan eras. THEY are the eras that "screwed" the franchise, if any.

Anyway, after reading over countless forums, listening to hardcore and casual fans alike on their opinion on QOS, I'd say it's very challenging and next to impossible to make the next installment appeal to everyone in the same way CR did. At the release of CR to about two months ago, that would have been easy for me to see the future.

I'd say, heap on the realistic, human CraigBond, keep the epic pace, expand the storyline that's ALREADY present in the current films, and you'll have a winning formula. Everyone (hyperbole) loved CR, so there's no problem. However, after QOS, MY personal opinion hasn't changed a bit, but unfortunately I'm hearing a pile of "We need to make everything fun again. Make it a standard mission. Bring back the quips." And I simply don't want to see this, which is surely going to split the Bond demographic down the middle.

I don't understand this idea of "This movie can sort of be a break from all that hard work Bond's been doing. Let him have some fun. A more pensive film." I mean, sure, it doesn't have to be as angry or fast paced as QOS, but do we not want the best Bond film we can have while Craig's still around? I don't want some half assed film where Craig gets into a little trouble, sleeps around and looks jazzy. I want a film that steps up the score that was set by CR and QOS. I want Bond to develop as a character and be something more by the end. I want Bond to go after Quantum and reveal new things and see Bond in situations we've NEVER seen him before. I don't want to see Craig try out things that other actors have done and "then we can compare them! Yaay!" I want him to go above and beyond what we've seen before. An example is the ball-torture and the opening scene to CR. When I was watching that for the first time, I was thinking "Never in my wildest dreams did I think I'd see this on screen." I want more of that to happen.

Basically what I'm saying is, I don't want CraigBond to try what other Bonds have done before him. I want him to rise above them, and create a unique experience we've never seen before, through realistic, human, Bondian, Fleming-like moments.

Edited by 001carus, 17 December 2008 - 11:23 AM.

[Christopher006]

Once again, can you understand the history of Bond before blarring this sort of thing? They're trying to go back to the novels

.

You need to get real. Eon are not making Bond films more serious because they all of a sudden care about Fleming's vision.

They are only going back to the books in the most superficial way like they always have done. Michael G. Wilson and Barbara Broccoli are business people, not Fleming purists. Daniel Craig's Bond films are darker and more serious because Eon are jumping on the current Hollywood trend in making action films darker and more serious, as the Jason Bourne films have done. Michael and Babs know they can make money by conforming to current trends. In fact, the Bond films have always made money by sticking to trends or fads.

Edited by Christopher006, 17 December 2008 - 03:04 PM.

[Joe Bond]

Once again, can you understand the history of Bond before blarring this sort of thing? They're trying to go back to the novels

.

You need to get real. Eon are not making Bond films more serious because they all of a sudden care about Fleming's vision.

They are only going back to the books in the most superficial way like they always have done. Michael G. Wilson and Barbara Broccoli are business people, not Fleming purists. Daniel Craig's Bond films are darker and more serious because Eon are jumping on the current Hollywood trend in making action films darker and more serious, as the Jason Bourne films have done. Michael and Babs know they can make money by conforming to current trends. In fact, the Bond films have always made money by sticking to trends or fads.

If they are trying to do this then the two Daniel Craig Bond films are pretty much like the Fleming novels. I do agree they made the change due to the current trends but if they are going to something darker and serious they are going to back to the novels since they were dark and serious to get the character and tone right. I agree with you 001carus that I want to see some new things that Bond has never done before and if they do reintroduce some traditional elements the should not be forced but feel apart of the story and do something new with them like if they reintroduced gadgets they need to be practical and maybe have situation where Bond is forced to use them(I would have Craig's Bond sort of prefer to do things with his wits rather than gadgets) and the gadget does not work and is forced to take on an almost impossible situation with his wit since he thought using a gadget would be the only way to get out of the situation. So if traditional elements are reintroduced, make them feel new and not forced and I feel Craig will make sure this happens since he has said in many interviews that these elements need to be earned and not forced into the story. As for the dark and serious trend, I don't see it going anywhere in the future since it does open new possibilities for new Bond stories than the traditional formula did and the audience can actually be surprised by story twists rather than the predictable stories of the traditional Bond films.

[Red_wizard05]

Should be revolving around a woman as the major villan, not an assistant, not a sidekick, or even xenia onatopp henchwoman, but the boss. Just a general idea. Seems as if she's the top dog, only to find out, and to find out at the very very end of the movie, that she belongs to QUANTUM.

[Harmsway]

ALBERT R. BROCCOLI'S
EON PRODUCTIONS
presents

DANIEL CRAIG
as
IAN FLEMING'S
JAMES BOND OO7
in

SHATTERHAND

BOND 23 needs a one-word, iconic title. And there's none available better than SHATTERHAND. Appropriately, SHATTERHAND would be a more relaxed spy thriller than CASINO ROYALE or QUANTUM OF SOLACE, but still retain the characterization and basic level of grit that folks have come to expect from a Craig Bond flick.

SHATTERHAND would find Bond hunting down and extinguishing Quantum, now with co-operation from the CIA and other international reserves. However, Bond fights himself straining to find leads, since Mr. White has been progressively "house cleaning" Quantum, leaving Bond with a lot of dead ends.

But unknown to Bond, one of the higher-ups in Quantum (to be played by Japanese actor Kōji Yakusho) sees all this as an opportunity to increase his stakes in the organization. So he decides to feed Bond information on those he would like to see eliminated from the picture, essentially using Bond as a pawn.

Stylistically, BOND 23 would have a level of retro influence (kind of inspired by flicks like the original THOMAS CROWN AFFAIR), but would also be extremely modern. I'd look to bring on Christopher Doyle as cinematographer to help establish that aesthetic.

The setting would be in predominantly Asian locations, with a real travelogue feel. We'd spend significant time in Tokyo (and broader Japan) for the first time since YOU ONLY LIVE TWICE. Sets would have a slightly larger-than-life quality, with Philip Messina taking over as designer from Dennis Gassner.

The score would be provided by composer Lalo Schifrin. He's a giant, and having defined the sound of MISSION: IMPOSSIBLE, it might be neat to see him deliver a tribute to John Barry before he departs the world.

That's all I've got for now.

[Eurospy]

That's all I've got for now.

Good stuff, Harmsway.

Darn good stuff indeed - 00

[Loomis]

Great stuff, Harms.

ALBERT R. BROCCOLI'S
EON PRODUCTIONS
presents

DANIEL CRAIG
as
IAN FLEMING'S
JAMES BOND OO7
in

SHATTERHAND

BOND 23 needs a one-word, iconic title. And there's none available better than SHATTERHAND.

Erm, there is: RISICO. Which is also a proper Fleming story title. SHATTERHAND is merely a longstanding fanboy title, along with the likes of SHAKEN, NOT STIRRED.

Appropriately, SHATTERHAND would be a more relaxed spy thriller than CASINO ROYALE or QUANTUM OF SOLACE, but still retain the characterization and basic level of grit that folks have come to expect from a Craig Bond flick.

Sounds good.

SHATTERHAND would find Bond hunting down and extinguishing Quantum, now with co-operation from the CIA and other international reserves. However, Bond fights himself straining to find leads, since Mr. White has been progressively "house cleaning" Quantum, leaving Bond with a lot of dead ends.

I like it. I want to see more of White (one of the coolest people in Bond history), and I like the irony that both he and Bond are trying to "clean up" Quantum, albeit for polar opposite motives.

But unknown to Bond, one of the higher-ups in Quantum (to be played by Japanese actor Kōji Yakusho) sees all this as an opportunity to increase his stakes in the organization. So he decides to feed Bond information on those he would like to see eliminated from the picture, essentially using Bond as a pawn.

Very, very cool, Harmsmeister. To open things out, so to speak, by focusing on a hitherto unexplored area of Quantum (the east Asian branch) reminds me of the way THE WIRE goes from the very closed world of dealing in the projects in season one to bringing in other, very different (yet related) walks of life in season two. Gradually revealing a bigger picture, sorta thing. Are you a WIRE fan, BTW?

Stylistically, BOND 23 would have a level of retro influence (kind of inspired by flicks like the original THOMAS CROWN AFFAIR), but would also be extremely modern. I'd look to bring on Christopher Doyle as cinematographer to help establish that aesthetic.

The setting would be in predominantly Asian locations, with a real travelogue feel. We'd spend significant time in Tokyo (and broader Japan) for the first time since YOU ONLY LIVE TWICE. Sets would have a slightly larger-than-life quality, with Philip Messina taking over as designer from Dennis Gassner.

Dude, this is precisely what I want from BOND 23.

The score would be provided by composer Lalo Schifrin. He's a giant, and having defined the sound of MISSION: IMPOSSIBLE, it might be neat to see him deliver a tribute to John Barry before he departs the world.

I'd prefer Joe Hisaishi or Ryuichi Sakamoto, especially with all those Japanese locations. Isn't Schifrin a tad past his prime?

Anyway, my gripes about the title and composer aside, this is wonderful stuff.

[Loomis]

BTW, Harms, do you see your idea accommodating an adaptation of Fleming's YOLT ending?

[DamnCoffee]

This is what I said earlier...

Bond persuing a villain on a busy motorway. After he realises the villain is too far away, he climbs out of the roof of the DBS, and uses the other traffic as stepping stones.

I know this could be either really really good or really really bad. I think, if done right it would be brilliant. Cars breaking, Bond flying onto oncoming traffic, nearly going under the wheels of trucks and busses, and holding on for dear life.

I still really love this idea, but I think it would be fantastic if Bond was to be forced to do this, maybe two enemy cars coming to either side and sandwiching him and accidently interlocking. Imagine how awesome that would be... Bond climbing out of the sunroof and jumping onto the back of a truck, just before both cars smash into an explosive obstacle causing a massive explosion. Enter the Bond theme!

[Quantumofsolace007]

This is what I said earlier...

Bond persuing a villain on a busy motorway. After he realises the villain is too far away, he climbs out of the roof of the DBS, and uses the other traffic as stepping stones.

I know this could be either really really good or really really bad. I think, if done right it would be brilliant. Cars breaking, Bond flying onto oncoming traffic, nearly going under the wheels of trucks and busses, and holding on for dear life.

I still really love this idea, but I think it would be fantastic if Bond was to be forced to do this, maybe two enemy cars coming to either side and sandwiching him and accidently interlocking. Imagine how awesome that would be... Bond climbing out of the sunroof and jumping onto the back of a truck, just before both cars smash into an explosive obstacle causing a massive explosion. Enter the Bond theme!

well that sounds like an interesting pakouyr sequence and i want akopur in all of craig's bond films

[Harmsway]

Great stuff, Harms.

Why, thank you.

ALBERT R. BROCCOLI'S
EON PRODUCTIONS
presents

DANIEL CRAIG
as
IAN FLEMING'S
JAMES BOND OO7
in

SHATTERHAND

BOND 23 needs a one-word, iconic title. And there's none available better than SHATTERHAND.

Erm, there is: RISICO. Which is also a proper Fleming story title. SHATTERHAND is merely a longstanding fanboy title, along with the likes of SHAKEN, NOT STIRRED.

Ah, but I don't think RISICO is a particularly good title. SHATTERHAND is, and while it's not a "proper" Fleming title, it is Fleming-derived (much like THE WORLD IS NOT ENOUGH, or GOLDENEYE).

SHATTERHAND would find Bond hunting down and extinguishing Quantum, now with co-operation from the CIA and other international reserves. However, Bond fights himself straining to find leads, since Mr. White has been progressively "house cleaning" Quantum, leaving Bond with a lot of dead ends.

I like it. I want to see more of White (one of the coolest people in Bond history), and I like the irony that both he and Bond are trying to "clean up" Quantum, albeit for polar opposite motives.

Yeah, it sets up a fun conflict between the two. And Mr. White has yet to be used to his full potential.

But unknown to Bond, one of the higher-ups in Quantum (to be played by Japanese actor Kōji Yakusho) sees all this as an opportunity to increase his stakes in the organization. So he decides to feed Bond information on those he would like to see eliminated from the picture, essentially using Bond as a pawn.

Very, very cool, Harmsmeister. To open things out, so to speak, by focusing on a hitherto unexplored area of Quantum (the east Asian branch) reminds me of the way THE WIRE goes from the very closed world of dealing in the projects in season one to bringing in other, very different (yet related) walks of life in season two. Gradually revealing a bigger picture, sorta thing.

Precisely. As of right now, Quantum has largely seemed like a European-centered organization. It's time to shift that perception and show that Quantum really is an international cabal.

Are you a WIRE fan, BTW?

No, but I'm interested. I just haven't taken the time to check it out (TV shows do demand a lot of focus and dedication).

Stylistically, BOND 23 would have a level of retro influence (kind of inspired by flicks like the original THOMAS CROWN AFFAIR), but would also be extremely modern. I'd look to bring on Christopher Doyle as cinematographer to help establish that aesthetic.

The setting would be in predominantly Asian locations, with a real travelogue feel. We'd spend significant time in Tokyo (and broader Japan) for the first time since YOU ONLY LIVE TWICE. Sets would have a slightly larger-than-life quality, with Philip Messina taking over as designer from Dennis Gassner.

Dude, this is precisely what I want from BOND 23.

I thought that might appeal to you. You've always appreciated Asian locales, and you share my love for Christopher Doyle's cinematography.

The score would be provided by composer Lalo Schifrin. He's a giant, and having defined the sound of MISSION: IMPOSSIBLE, it might be neat to see him deliver a tribute to John Barry before he departs the world.

I'd prefer Joe Hisaishi or Ryuichi Sakamoto, especially with all those Japanese locations. Isn't Schifrin a tad past his prime?

Schifrin is past his prime, but I still think there'd be a lot of charm in seeing him do Bond, if only for the "Hey, it's Schifrin doing Bond!" feel. If I wanted a composer in his prime, I'd hire David Holmes.

But I do think that it would be appropriate to hire a Japanese composer to underscore the overall atmosphere. I would be very happy to see Ryuichi Sakamoto tackle a Bond score.

BTW, Harms, do you see your idea accommodating an adaptation of Fleming's YOLT ending?

As much as it's been my dream to see Fleming's YOLT ending realized, I wonder if it might not be better to save that magnificent Kissy/Bond relationship and the amnesiac ending for Craig's final outing as 007. It would be most appropriate to see Craig's Bond - the "damaged goods" - end his tenure in a state of blissful peace, freed of all his emotional baggage.

And BOND 23 strikes me as the right place to see Craig's Bond in that kind of intermediate state, the one where he's really just on the mission and that's that (ala Fleming's MOONRAKER and THUNDERBALL). It would be a nice break before we return to the all-out drama of Fleming's YOU ONLY LIVE TWICE realized. I'd actually rather see SHATTERHAND close with Kōji Yakusho's villain receiving an apparent death, and Quantum more or less in ruins.

And then, in BOND 25, we could get a loose follow-up to SHATTERHAND (BOND 24 would be an intermediate adventure entirely unrelated to the Quantum story arc). Bond finds himself the center of a headhunt, and he doesn't know why. And towards the end of the second act of that film, he finds out that Yakusho's character is very much alive and has put a price on his head (out of spite after the events of SHATTERHAND). And so for the final section, Bond returns to Japan to take the fight to Yakusho's character, who incidentally is holed up in a Japanese castle with a peculiar garden... And then, you could adapt the majority of Fleming's YOU ONLY LIVE TWICE to the screen, and end Craig's tenure on a beautiful, poignant note.

[[dark]]

Love it, Harmsway. Love it all.

The headhunt idea is probably my favourite unused notion from the continuation novels (Nobody Lives For Ever). I'd love to see the Craig era continue to toy with or disregard formula. Ideas like the headhunt or Bond being used as a pawn to do Quantum's work are inspired ways to shift the character away from the clichés and formulas that have bogged down the series for decades.

And using the ending from Fleming's You Only Live Twice is a great way to semi-kill off Bond, if Eon so choose to do after Craig's tenure ends.

[Scrambled Eggs]

If we're going to Japan, and using the title Shatterhand (although I'm semi convinced that Risico will be Bond 23) then we simply have to have a scene in:

The Garden of Death

They have to use it. Somewhere. Anywhere. If they don't use it, eventually I think I might snap and start harassing EON through the mail.

Seriosuly, I think a film which uses portions of YOLT is perfect for Bond 23. The book's travelogue aspects are rooted in the real world, but it also includes some of Fleming's best leaps of imagination. Its an ideal story for Craig's Bond: keeping the grit of QOS while pushing the series back towards more fanciful material.

I also think, even if its not a full on readaptation of YOLT, it'd be nice to have Tiger Tanaka (Andy lau? Tony Leung?) and Henderson (Phil Glenister?) involved. Although maybe Tiger's a bit too much of a caricature.

Oh, and people have complained about a lack of sex in QOS? Well there's potentially a scene at a geisha party that'll sort that out...

[Harmsway]

Love it, Harmsway. Love it all.

Why thank you, sir. It's just something I've been toying with for a bit.

The headhunt idea is probably my favourite unused notion from the continuation novels (Nobody Lives For Ever). I'd love to see the Craig era continue to toy with or disregard formula. Ideas like the headhunt or Bond being used as a pawn to do Quantum's work are inspired ways to shift the character away from the clichés and formulas that have bogged down the series for decades.

Entirely agreed.

And using the ending from Fleming's You Only Live Twice is a great way to semi-kill off Bond, if Eon so choose to do after Craig's tenure ends.

Well, it's really the perfect choice for a number of reasons. If they do want to end their franchise, they can do so, or if they want to continue it, they have a perfect place to introduce a new Bond. And either way they go, Craig's tenure would feel very unified and complete.

[tdalton]

Love it, Harmsway. Love it all.

Agreed. I thought that it was very good as well.


I do think that EON definitely needs to go ahead and adapt the whole Shatterhand/Garden of Death storyline during the Craig tenure, as I really think that he would be the ideal actor to pull it off. It would also allow the franchise to either end or begin a new chapter when Craig leaves the role.

I had earlier posted a way of going about doing the Shatterhand storyline as a part of a combined adaptation of Fleming's Diamonds are Forever and You Only Live Twice, but I like the concept of saving the Garden of Death for the very end of Craig's tenure.

I think that, for a story arc over the next few films, the way I would go about doing it would be:

BOND 23 - A Whisper of Hate: Bond is sent to South Africa to investigate a suspected diamond smuggling ring. He discovers that it's operated by Jack and Seraffimo Spang (played by Linus Roache and Brendan Gleeson, respectively), two high-ranking members of Quantum. Bond follows the money trail and eventually hears rumors of an island somewhere off the coast of South America where gruesome experiments are being performed, using the money from the smuggling operation as funding. The plan that is set in motion by the Spang brothers is to lure Bond into a trap, which they do at the end of the film, which ends with Bond captured.

BOND 24 - The Nature of Evil: The film opens with Bond in captivity at, we later find out, the island that he had heard about during the last film. He has been tortured for a rather extended period of time, before simply being released. Back at MI6, M has Moneypenny (Yvonne Strahovski) draft up papers to have Bond declared dead. As she's doing this, she receives a phone call from a man claiming to be James Bond. From this point, the beginning of Fleming's TMWTGG plays out. After Bond is detained by M's security staff, an physical examination of him determines that he had been under the influence of various toxins. M orders him rehabilitated, against strong objections from Bill Tanner and the rest of her staff, and sends him out after the Spang Brothers once again to get answers. Bond quickly catches up with Jack Spang, who tells Bond that his brother knows where the island was located, as well as his brother's whereabouts, in exchange for Bond letting him live (Bond does this knowing that Quantum will eventually get to Spang and deal with him). When Bond finally catches up with Seraffimo Spang in Las Vegas, he finds him deceased in his hotel suite. The film ends with Bond standing in the suite, angry and upset that his only lead to the island was sitting in front of him, deceased. His phone then rings, and it's Mr. White on the other end. "Good evening, Mr. Bond. I hope you found what you were looking for." (or something to that effect).

BOND 25 - Risico: This film would be something of a standalone film. Bond finds himself unable to track down Mr. White, Jack Spang, or any other members of Quantum, who have gone temporarily dormant in order to reorganize and tie up any loose ends. Bond is assigned to investigate a human trafficking ring that operates all over the globe. Bond, along with Gala Brand (Olivia Wilde) go to Eastern Europe where some of the earlier kidnappings took place, and eventually follows the trail to Japan, where he discovers a man by the name of Victor Russell is in charge of the entire operation, and had been running it remotely from his headquarters in Tokyo. Bond stumbles upon information that tells him that Russell is about to sell his own wife, Mary Ann, into the trafficking ring, and it's with this knowledge that Mary Ann gives Bond the necessary information about him in order to infiltrate his headquarters and take him down. The film ends with Bond confronting Russell in his Tokyo headquarters. He taunts Bond, telling him that Mr. White had told him so much about Bond (Russell is not a member of Quantum, but just knows Mr. White). MI6 agents then storm the complex and take Russell away. Later that night, after dinner, Bond asks Gala Brand if she'd like to come back to his hotel with him before returning to London the next day. As in the novel Moonraker, she declines, leaving Bond alone. The film ends with Bond returning to London and going in for his debriefing with M, when she informs him that Russell would like to cut a deal. Bond refuses, having seen the atrocities of his line of work. M then informs him that he may have some information about a man named Guntram Shatterhand.

BOND 26 - Shatterhand: Through an interrogation of Russell, Bond learns that, somewhere in Japan, Shatterhand owns a fortress where he conducts gruesome experiments, much like the ones Bond witnessed and was subjected to while prisoner in South America. He learns that Shatterhand actually owns that island as well, although it's run by someone else under Shatterhand's supervision. Bond travels to Japan, where he meets with Tiger Tanaka (Hiroyuki Sanada), who shows him around and helps him track down leads on Shatterhand. Also while in Japan, he meets Kissy Suzuki (Koyuki Kato), with whom he has a brief relationship during the main body of the film. Through a great amount of detective work, Bond and Tanaka discover the fortress where Shatterhand is operating out of. Bond infiltrates the compound, and finds that the experiments going on there were far worse and more disturbing than what he had witnessed in South America. He eventually stumbles into Shatterhand's Garden of Death, where he dispatches Shatterhand in a similar fashion to the way Bond dispatched Blofeld in Fleming's YOLT. Bond escapes and then goes back to Kissy Suzuki, and it appears as though he's going to stay with her and not return to London when the film closes.


NOTE: At some point during this timeline, although I'm not sure where it would best fit, we find out that Shatterhand is the the person with the largest amount of influence within Quantum, and Mr. White is kind of his second-in-command.

[Eurospy]

I truly like your ideas, tdalton. Just as I also like Harmsway's and YOLT's.

But I mean, well... I'm a bit divided...

I also think that Craig's Bond would be ideal to have an adaptation of YOLT that would be a bit more faithful, but still, on the other hand, I'd like his character to have a bit of a break, a bit more fun, without being tongue-in-cheek of course.

I mean, Craig's Bond has already gone through such an incredible amount of pain in both CR and QOS, on all the levels, shouldn't we let him enjoy a bit more for at least another two movies?

[[dark]]

And using the ending from Fleming's You Only Live Twice is a great way to semi-kill off Bond, if Eon so choose to do after Craig's tenure ends.

Well, it's really the perfect choice for a number of reasons. If they do want to end their franchise, they can do so, or if they want to continue it, they have a perfect place to introduce a new Bond. And either way they go, Craig's tenure would feel very unified and complete.

Yep. I'm actually with you on You Only Live Twice would have been a fitting end to Fleming's series. I do love the opening of The Man With The Golden Gun, but it quickly turns routine (and disappointingly so). So I'd be willing to sacrifice the brainwash/assassination plot for a good, ambiguous ending.

In fact, if I want anything from the Craig era, it's a solid ending. Diamonds Are Forever, A View to a Kill, Licence to Kill, Die Another Day... every Bond just kind of fizzles out. The Craig era had a definitive beginning and should have a clear end. Most of all, because Craig himself deserves it.

[Harmsway]

I also think that Craig's Bond would be ideal to have an adaptation of YOLT that would be a bit more faithful, but still, on the other hand, I'd like his character to have a bit of a break, a bit more fun, without being tongue-in-cheek of course.

I mean, Craig's Bond has already gone through such an incredible amount of pain in both CR and QOS, on all the levels, shouldn't we let him enjoy a bit more for at least another two movies?

I entirely agree. Which is why my plan for BOND 23, 24, and 25 has 23 and 24 being those more relaxed Bond adventures, with 25 providing a final return to "dramatic" Bond in a big way via a YOLT adaptation.

[Professor Pi]

These are all interesting ideas. I only hope that if EON does plan on linking the films in a cohesive manner, that they return to announcing the next title at the end of the credits:

James Bond Will Return in

RISICO/THE PROPERTY OF A LADY/SHATTERHAND/SHAKEN NOT STIRRED

But then the end of DAD should have read:

James Bond Will Reboot in
CASINO ROYALE

[Captain Tightpants]

I likes it, except for this bit:

The score would be provided by composer Lalo Schifrin. He's a giant, and having defined the sound of MISSION: IMPOSSIBLE, it might be neat to see him deliver a tribute to John Barry before he departs the world.

The score should be Lalo Schifrin, not Lalo Schifrin imitating John Barry. As good as Barry was, we need to think outside the box a little bit, because if someone does a "tribute", all the fans are going to be up in arms when it doesn't sound just the way they want it to.

[sharpshooter]

If they do want to end their franchise, they can do so, or if they want to continue it, they have a perfect place to introduce a new Bond. And either way they go, Craig's tenure would feel very unified and complete.

Exactly right, it makes a whole lot of sense. It would be the perfect way to end Craig's era. Hell, it would be the best exit of any Bond. Ever.

[Joey Bond]

Let's bring back Corinne and make her one of the Bond girls!

I like that idea. Maybe not as a Bond girl, but an ally.

[Captain Tightpants]

The Providence of Sin

At the foot of the famous bronze hoseman statue in St. Petersburg, five men gather together and make a pledge: to assassinate a group of British diplomats, politicians and suspected spies at whatever the cost to themselves. These five men are the children of the infamous Cambridge Five, and are looking for redemption for their fathers' crimes at the same time as eliminating the descendants of the double agents who remained undetected in England, men who still today are working against their nation, having formed the organisation known as Quantum.

[Loomis]

Are you a WIRE fan, BTW?

No, but I'm interested. I just haven't taken the time to check it out (TV shows do demand a lot of focus and dedication).

THE WIRE requires more than most. Additionally, as a Brit, I have real trouble even understanding what the characters (both black and white) are saying. I feel like one of those Americans who allegedly could cope with TRAINSPOTTING only with subtitles. Presumably, though, that'll be less of a problem for you.

However, THE WIRE is must-see stuff. I'm sure you know of the high esteem in which the notoriously hard-to-please Alan Moore holds the show (which was the deciding factor in my finally checking it out all these years after it started), but it seems that everyone up to and including Barack Obama thinks it's the best thing since sliced bread.

Now, I myself wouldn't go that far (I wouldn't put it up there with THE SOPRANOS, my all-time favourite), but THE WIRE is still most definitely required viewing. I'm now a few episodes into season two, and it's guaranteed that I'll buy the remaining box sets in the not-too-distant future.

I'd find it hard to believe that you wouldn't - at the very least - enjoy THE WIRE tremendously, Harms. I'm also somewhat staggered that you haven't seen it already!

Be aware, though, that it's not one of those shows like THE SOPRANOS in which every episode (while also moving the bigger picture forward) is a self-contained, standalone "mini-movie" that can be watched again and again and again by fans like yours truly. Like 24, I'm not sure that THE WIRE is a "repeatable" experience, at least not in the sense that one can just grab an old episode at random and enjoy it. I may be wrong, though. Perhaps that is indeed perfectly possible for WIRE fans (and 24 fans).

Great stuff, though.

[Simon Beavis]

2. She's evil, she lives.

Personally I find the idea of her surviving to be more interesting, where villains go when the jobs done is something that's never really been explored. But I'd be interested to see what other people think.

I agree, it gives her an Irene Adler type vibe. For the unfamiliar, Irene Adler was in a Sherlock Holmes story, she gained distinction as the only villain to escape from Holmes.

[Harmsway]

I likes it, except for this bit:

The score would be provided by composer Lalo Schifrin. He's a giant, and having defined the sound of MISSION: IMPOSSIBLE, it might be neat to see him deliver a tribute to John Barry before he departs the world.

The score should be Lalo Schifrin, not Lalo Schifrin imitating John Barry. As good as Barry was, we need to think outside the box a little bit, because if someone does a "tribute", all the fans are going to be up in arms when it doesn't sound just the way they want it to.

Of course. When I say say Lalo Schifrin doing a tribute to John Barry, I don't mean that he should imitate Barry's style, really. I just meant that by the very nature of him taking the assignment, it'd be a level of tribute to John Barry. I would definitely want it to be a Schifrin score, through and through.