Maybe for the Broccoli’s
But we’re under new management now . The old rules don’t apply
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It is more than the guardrails disappearing. It is a new ethos replacing the steady/fusty/idiosyncratic/eccentric/deliberate/aggravating/focused/insular ethos that governed the production of the films up until this moment.
The new Bond owners have a different set of priorities/values, as pointed out by
The newspaper that broke the Watergate story, and published the Pentagon Papers refused to run an oligarch-critical cartoon:
“We will take fan’s suggestions for the new Bond, but please do not suggest possible villains. We well know who your and our enemies are, and look forward to educating you about them.”
At least such an agenda may result in a faster production schedule. After all, assembly-line art is easier and quicker to make.
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I feel like SPECTRE just bought MI-6.
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Bond 26 Finalists:
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Hell of a way to sum it up.
They will definitely want a much younger Bond.
Timothy Chalamet.
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Does this mean we could get Idris now?
This makes me sad. Thanks for 25 great films EON.
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I guess I’m old school. That question should be asked on sites like this, where people are actually invested in the franchise as opposed to Instagram, where any random follower of Bezo’s can play. But I still read a newspaper once in a while so what do I know? Brave new world and all of that.
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I wonder if this means we’ll finally get the “Birds of the West Indies” limited series we’ve all been clamoring for. Maybe this is just a matter of ceding creative control over THAT James Bond…right?
Right!?
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I hope for his birthday, Aunt Barbara gives Gregg one of those kids cards with the money holder in it and it’s really, really, really thick.
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Jeff Bezos accepting delivery of EON’s James Bond took kit
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I want an Amazon Prime delivery truck to deliver Little Nellie.
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It worked for Eon 1962-1989: 17 entertaining films in 27 years!
I’m jesting, however, there certainty was a success, commercially and (in my opinion) artistically, when they were following an assembly-line/formlatic approach during this period. Perhaps it speaks to the skill and genius of that group more than anything else.
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The longevity of the Bond series is because of the Brocolli family. Studio executives come and go, and if an IP underperforms the studio can drop it and move on to something else that’s more fashionable. Dropping Bond wasn’t an option for Cubby and his family, who kept the series going no matter what, even after Saltzman left and United Artists began falling apart. A family business may make mistakes, but it will always have a closer, more protective attachment to its product than an entirely corporate enterprise. Cubby was a lifetime executive for James Bond, not a studio.
In the short term, Amazon’s success with Bond will hinge on the executive it appoints to lead the series forward. If the right executive is chosen, he or she might be able to produce a few Bond films that might even be better than several of Craig’s. But that executive won’t be there for life—unlike Cubby, who had to keep Bond going if he wanted to stay in the film business. Amazon has no such obligation to Bond, and whenever the series underperforms (whether or not from Amazon bleeding it dry) its future will be imperilled.
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And the fact that it was an assembly line turning out a limited number of a single product–more akin to producing a Rolls-Royce than a Dodge Charger.
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I must say I understand the relief of responsability, arduous work and a genre which might have become tiresome for BB and MGW, coupled with the monetary compensation of this new contract.
What I don’t understand is the willingness to give up after decades of staying firm and winning.
Might there have been something in their contract that would have forced them out if they had continued to stall?
Or did they already decide to quit when they did NTTD, using their property as leverage to get the most golden parachute now?
In any event, I am still disappointed and scared of what Amazon will now do with Bond, creatively unshackeled.
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