625 replies to this topic

[Jim]

This is bad news.
Who needs another tiresome, amateur script by Purvis and Wade just like their last four tiresome, amateur scripts.
Who needs them?

At a guess, the people for whom their last four Bond stories made two billion dollars. Just hazarding a wild one, mind.

Peter Morgan is a brilliant playwrite and screenwriter.

This is true. I suspect he can also spell playwright, which is handy.

He is also distinctly British, which is important.

So are they.

[Richard]

This is bad news.
Who needs another tiresome, amateur script by Purvis and Wade just like their last four tiresome, amateur scripts.
Who needs them?

At a guess, the people for whom their last four Bond stories made two billion dollars. Just hazarding a wild one, mind.

Jim,

Financial success is not a barometer for quality. Everybody who works in the industry knows that. But I know that discussion would be lost on you.

He is also distinctly British, which is important.

So are they.

One would never know it by what they write.

Richard

[Jim]

This is bad news.
Who needs another tiresome, amateur script by Purvis and Wade just like their last four tiresome, amateur scripts.
Who needs them?

At a guess, the people for whom their last four Bond stories made two billion dollars. Just hazarding a wild one, mind.

Jim,

Financial success is not a barometer for quality. Everybody who works in the industry knows that. But I know that discussion would be lost on you.

I expect so; I am very stupid. But, at least we acknowledge it's an industry. And, although I like the Bond films generally, I suspect that your first sentence sums up the series pretty well, admittedly at a pretty broad view.

[Richard]

I expect so; I am very stupid. But, at least we acknowledge it's an industry. And, although I like the Bond films generally, I suspect that your first sentence sums up the series pretty well, admittedly at a pretty broad view.

I like the series generally, as well.
I have always like the series, flaws and all.

I lost respect for the producers near the second half of the Brosnan outings. It became clear where the problem is and confirmed reports I'd been hearing from those who are up close and involved.

I don't respect Casino Royale and I don't enjoy Quantum of Solace, although I find much to appreciate in the latter despite its fatal flaws. I find myself in agreement with Roger Moore's take on the film.

I also know you should be a lot more tolerant of posters who express negative views and you should stop your friends from making personal attacks on posters. You should never allow the abuse that goes on here.

Richard

Edited by Richard, 23 June 2009 - 08:00 AM.

[Zorin Industries]

This is bad news.
Who needs another tiresome, amateur script by Purvis and Wade just like their last four tiresome, amateur scripts.
Who needs them?

At a guess, the people for whom their last four Bond stories made two billion dollars. Just hazarding a wild one, mind.

Peter Morgan is a brilliant playwrite and screenwriter.

This is true. I suspect he can also spell playwright, which is handy.

He is also distinctly British, which is important.

So are they.

Yes and so are - to all intents and purposes - the producers of Eon HQ.

This is bad news.
Who needs another tiresome, amateur script by Purvis and Wade just like their last four tiresome, amateur scripts.
Who needs them?

At a guess, the people for whom their last four Bond stories made two billion dollars. Just hazarding a wild one, mind.

Jim,

Financial success is not a barometer for quality. Everybody who works in the industry knows that. But I know that discussion would be lost on you.

He is also distinctly British, which is important.

So are they.

One would never know it by what they write.

Richard

Richard, how do you actually know WHAT Purvis and Wade have written and contributed to each Bond film? You need to know that before you slam them. I am not one of their biggest fans but Jim is completely right when he says look at the box office. "Everybody who works in the industry knows that" you say. Well... I don't "know that". Ratings, bums on seats and grosses decide whether a film is successful or not.

[Orion]

Financial success is not a barometer for quality. Everybody who works in the industry knows that.

In fairness, most studio executives will lean toward financial success over critical praise. Hence why films like Fantastic Four get sequals, its a moot question anyway as P&W's films have been finanically successfull and critically liked (only CR was loved)

[The Shark]

He is also distinctly British, which is important.

So are they.

Only by birthright. For the most part there stuff is an Americanised tripe, involving globetrotting to numerous locations across the globe, contrived action sequences, and poor characterisation.
There's much more of a distinctly British tone to what Morgan writes, so hopefully no more sinking houses and needless Miami Airport chases.

Edited by The Shark, 23 June 2009 - 11:31 AM.

[Zorin Industries]

Financial success is not a barometer for quality. Everybody who works in the industry knows that.

In fairness, most studio executives will lean toward financial success over critical praise. Hence why films like Fantastic Four get sequals, its a moot question anyway as P&W's films have been finanically successfull and critically liked (only CR was loved)

That was not my quote Orion. It has been mis-requoted.

[Zorin Industries]

"Only by birthright"....? What backed-into-a-corner rubbish.

"Americanised tripe"...? Have you seen all of Purvis and Wade's work? Have you seen STONED, LET HIM HAVE IT, PLUNKETT AND MACLEANE and their television work?

And whether people rate them or not, Eon Productions rate them for a vast array of reasons - none of which have even crossed the fans minds when scorning their involvement as if any of them have ever written a feature length screenplay that has sold themselves.

[The Shark]

Alright, since your the infallible all knowing professional - you tell me, why do EON Productions use them, as opposed to many other screen writers in the UK?

[Zorin Industries]

Alright, since your the infallible all knowing professional - you tell me, why do EON Productions use them, as opposed to many other screen writers in the UK?

If that's your tone, then I don't think I need bother.

[The Shark]

Alright, since your the infallible all knowing professional - you tell me, why do EON Productions use them, as opposed to many other screen writers in the UK?

If that's your tone, then I don't think I need bother.

My tone? I'm only matching yours, which hasn't been exactly amiable.

[Pierce - Daniel]

My hope is that Purvis, Wade and Morgan come up with a really good script, that whoever directs it at the end dosen't need to completely rejig, we know the orginal draft of QOS changed rapidly after Forster boarded and Haggis came onboard. IF they have a decent enough script to offer out to a director in the first place then the odds are these probelms could be averted.

[Santa]

involving globetrotting to numerous locations across the globe,

A bit like Ian Fleming. Fancy that!

[Ambler]

involving globetrotting to numerous locations across the globe,

A bit like Ian Fleming. Fancy that!

Depends. In Moonraker Bond never leaves England.

[The Shark]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

CR - France
LALD - New York, FLorida and Jamaica
MR - England
DAF - London and US
FRWL - Istanbul, Orient Express/Balkans and Paris
DN - Jamaica
GF - Miami, UK, Geneva and US
TB - UK, Bahamas
OHMSS - Switzerland
YOLT - Japan
TMWTGG - UK, Jamaica

With FRWL, LALD and GF being the only exceptions.

Edited by The Shark, 23 June 2009 - 12:46 PM.

[Quantumofsolace007]

I suppose i'm one of the few people here who couldn't be happier. Purvis and wade are resopsible for 2 of my favourite bond films (casino Royale and quantum of solace) and With morgan coming in (who i belive will bring a more political thriller aspect to the film and possibly embelsih the role of guy haines) I couldn't be happier

BOND 23 WILL ROCK

[Santa]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

CR - France
LALD - New York, FLorida and Jamaica
MR - England
DAF - London and US
FRWL - Istanbul, Orient Express/Balkans and Paris
DN - Jamaica
GF - Miami, UK, Geneva and US
TB - UK, Bahamas
OHMSS - Switzerland
YOLT - Japan
TMWTGG - UK, Jamaica

With FRWL, LALD and GF being the only exceptions.

That lot looks like plenty of globetrotting to me.

[The Shark]

Over all, but not per novel.

The great thing about Fleming, due to his journalistic training, is he had a great nack for describing and conjuring locations. Which is probably one of the reasons why he limited the narrative to a few locations per each novel, so he could absorb the culture, customs, events, population and locales of each location.

I also think the best Bond films (perhaps with the exception of TLD and CR) managed to do that more so because of their limited locations- FRWL, TB, OHMSS and DN.

[DaveBond21]

why do EON Productions use them, as opposed to many other screen writers in the UK?

I think that Michael and Barbara were impressed with their screenplay for Plunkett and Maclaine and chose them for TWINE. I imagine they find them easy to work with, and they probably listen to what their bosses say. Plus they know their Bond.

They are two very English guys who would sit in the pub talking about Bond. Now they get paid to sit in the pub, writing Bond screenplays.

[jaguar007]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

More like Bourne than Bond???? That is a rather stupid thing to say. In the Bond films, Bond has been globetrotting for far longer than Bourne has been around. It is not something that Bond has started to do since the Bourne films or even books have been around.

[00Twelve]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

More like Bourne than Bond???? That is a rather stupid thing to say. In the Bond films, Bond has been globetrotting for far longer than Bourne has been around. It is not something that Bond has started to do since the Bourne films or even books have been around.

I'd agree that it's not quite fair to call it more Bourne than Bond. As you yourself listed, Shark, there were several novels that were all over the place in terms of location. I personally see QOS being similar to LALD in both its tone (early FlemingBond was rougher around the edges, like this celluloid version), its pace (LALD is a short book that flies by IMO) and its globetrotting tendencies. MR was the odd man out early on by remaining in one place, as DAF would return us to the rapid change of location (London->NYC->Saratoga->Vegas->South Africa) and FRWL had Bond moving around in Eastern/Western Europe.

No, Bond was hopping all over the place long before Ludlum invented Bourne.

[Zorin Industries]

It has been announced that Peter Morgan is no longer directing HBO's THE SPECIAL RELATIONSHIP and is to be replaced by British director Richard Loncraine.

Some sources are suggesting that the change of course for Morgan's latest is due to his commitments on BOND 23 (which those sources are citing as being released late 2010).... though they are ONLY suggesting that so read this with a pinch of Stacey Sutton rock salt.

[dinovelvet]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

CR - France
LALD - New York, FLorida and Jamaica
MR - England
DAF - London and US
FRWL - Istanbul, Orient Express/Balkans and Paris
DN - Jamaica
GF - Miami, UK, Geneva and US
TB - UK, Bahamas
OHMSS - Switzerland
YOLT - Japan
TMWTGG - UK, Jamaica

With FRWL, LALD and GF being the only exceptions.

Well, not really. In DAF Bond goes to Saratoga and Las Vegas, and I think its fair to say that those are two very different places (a couple of thousand miles apart), plus the section at the end on the cruise ship, plus segments taking place in South Africa. Ireland even gets a quick look in, albeit from an airport. So "London and US" doesn't really describe the novel too accurately.
OHMSS also starts off in the fictional Royale-les-eaux, France, before going to the UK and then on to Switzerland, that's a fair bit of trotting. (And all of these were written long before Robert Ludlum decided to rip off YOLT!) So this non-globe-trotting theory is kind of dead in the water...

[Orion]

Financial success is not a barometer for quality. Everybody who works in the industry knows that.

In fairness, most studio executives will lean toward financial success over critical praise. Hence why films like Fantastic Four get sequals, its a moot question anyway as P&W's films have been finanically successfull and critically liked (only CR was loved)

That was not my quote Orion. It has been mis-requoted.

Really? That's wierd, sorry bout that.

[Nicolas Suszczyk]

I've watched The Queen and I must say I love Morgan's subtle English humour. He's a great choice, and (I think) he would make a better job than Haggis (at least in Quantum of Solace).

[Panavision]

why do EON Productions use them, as opposed to many other screen writers in the UK?

I think that Michael and Barbara were impressed with their screenplay for Plunkett and Maclaine and chose them for TWINE. I imagine they find them easy to work with, and they probably listen to what their bosses say. Plus they know their Bond.

They are two very English guys who would sit in the pub talking about Bond. Now they get paid to sit in the pub, writing Bond screenplays.

Yep, they write in the "English idiom" that is very Bond. I saw them during QoS shooting, they were hanging around -- probably working.
I hope they are able to bring back some humour, and more sardonic wit, please.

[The Shark]

More like Bourne than Bond if you ask me, Fleming more often than not chose a region and stuck with it:

CR - France
LALD - New York, FLorida and Jamaica
MR - England
DAF - London and US
FRWL - Istanbul, Orient Express/Balkans and Paris
DN - Jamaica
GF - Miami, UK, Geneva and US
TB - UK, Bahamas
OHMSS - Switzerland
YOLT - Japan
TMWTGG - UK, Jamaica

With FRWL, LALD and GF being the only exceptions.

Well, not really. In DAF Bond goes to Saratoga and Las Vegas, and I think its fair to say that those are two very different places (a couple of thousand miles apart), plus the section at the end on the cruise ship, plus segments taking place in South Africa. Ireland even gets a quick look in, albeit from an airport. So "London and US" doesn't really describe the novel too accurately.
OHMSS also starts off in the fictional Royale-les-eaux, France, before going to the UK and then on to Switzerland, that's a fair bit of trotting. (And all of these were written long before Robert Ludlum decided to rip off YOLT!) So this non-globe-trotting theory is kind of dead in the water...

Not really. Even when a Bond novels does take places in 2 or 3 locations (usually that's the maximum, a wise choice in my opinion) Bond stays in one or two regions - DAF it's the US and South Africa. Despite the fact that the US is a vast country - it has got a consistent tone and character to it. The same with Bond going to Royale-les-eaux and then to Switzerland - relatively, they're close - as opposed to Bond travelling to Spain, Bahamas, Japan and Russia- 4 very different locations, breaking the consistency, and will more likely feature a splintered narrative and shoddy characterization - trademark Purvis and Wade.

Edited by The Shark, 03 July 2009 - 10:22 PM.

[Quantumofsolace007]

So i'm thwe only one excited and looking foward to bond 23 and thinking Purvis wade and Morgan can deliver a great script really?


man I thought i was a loner as it seems i'm the only one happy with Grayson as batman (to non batman fans Bruce wayne died in january former robin Dick Grayson is the current batman)


but i'm alone here too jeez

[MattofSteel]

Some of the naive perceptions of how a film is actually put together baffle me on occasion, especially when someone starts getting passionate about an argument. Like someone could actually believe the various departments on a Bond film are mutually exclusive to each other, especially all those intersecting with high-level decisions such where 007 travels in every film. As if, in their opinion, Purvis & Wade merely spew out a rough draft which is immediately greenlit and shot whilst every frame of the finished film has a corresponding sentence somewhere in their 120 pages. Amazing.