Very proud of my new wallpaper 
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Itâs true. However I think thereâs also symbolism to consider with Bond being swept away and dragged down to the depths, which they wanted to explore with the title sequence. It seems they equate the depths to the abyss, a place where it all ends and dreams die. The title sequence for NTTD has the ruined Aston sinking to the bottom, which continues this idea (if I recall correctly this was a possible ending to the PTS before it was altered).
Iâm fine with unreality being apart of the Bond experience and I think itâs essential to a degree. Even with darker and more ârealisticâ Bond films where it can stick out more, like the QoS freefall sequence and the very sudden stop. Bond can be hurt but I also want some form of wish fulfilment protection around him that we lack in real life. Barring a missile strike he should be good to go.
Agreed. Itâs a big undertaking. I think it was probably just a feeling of time. Amazon were there and they werenât going away. There was a sense of completion with Craig and a decision was made.
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But what allows a viewer to âstill be entertainedâ? For one audience cohort, they want to be entertained, and will accept all. They will supply whatever missing narrative fills in the plot holes.
Another cohort will need some help/guidance, but given the right material, they too can fill in the plot holes, though in their case it is a shared effort.
A third group is more intransigent. It will do some work, but demands that a narrative film do its job, and provide a solid framework, which requires only mild effort on their part.
Okay, I will admit it. For years, I thought it was blood running down into an eye. It was not until I encountered the phrase âgunbarrel sequenceâ that I learned I was wrong.
What might contribute to its laugableness is the difficulty in connecting it to the next plot point.
When this approach was developed, it was probably easier to follow this path. Difficultâyes, but doable. It may now be close to impossible to make a Bond film the Broccoli way.
It is essential to a significant degree.
I think the issue is that the more realistic and dark a Bond film becomes, the smaller and more permeable that bubble of protection around Bond becomes. The bubble exists in direct proportion to the fantastic elements. The Orphan Trilogy gets the balance wrong, most egregiously in SF. Mendes rights the ship with SP.
Also, I like your concept that one of SFâs themeâs is resurrection, and will keep it in mind during my next rewatch.
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A lot of people think itâs the scope of a rifle that the unseen shooter is looking through, but the grooves give it away as a gunbarrel (the grooves force the bullet to spin as it comes out).
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The gun barrel does not make realistically sense in many ways: who could actually look through it, who could fire a bullet which could exactly go through that gun barrel, and why would everything then fill with blood?
But realism is not the point, and that sequence is essential for a Bond film exactly for that reason. It signals: we are going against the known rules here, and it will be fun and exciting.
Although, when it was okayed, EON probably just said: yeah, that looks cool.
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Says the irish BondâŚ
For context, im Irish too
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Actually, I expect this requirement to come under pressure soonest. Itâs one of the traditions the series more or less grew into without Fleming being particular about it in the first place. He wanted a hit at the box office and American actors were the closest guarantee to have one. Heâd gladly have accepted James Stewart, provided he could fake a British accent.
When screen Bond gained traction Fleming even provided a kind of âwriters bibleâ that stipulated Bond had to avoid the typical totems of supposed fake âBritishnessâ like heavy tweeds, bowlers and such, which his books also supported, making fun of Goldfingerâs tweeds clashing with his hair, or even giving Bond something âun-Englishâ to set him apart from the Blades crowd.
Screen Bond more or less developed into the entity weâve come to know by the winds that blew the ship across the seas - but it could have taken a different course at any time, and might have done so without us noticing. That the guy in the role had to come from Britain - or at least a state of the Commonwealth - is possibly one of the elements that wouldnât have bothered people for the longest time.
I still think they may try to fill the shoes with somebody less American, if only to get the tabloids and the European public onside. But itâs certainly not a given any more.
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Daily Mail reporting unfortunately, however an internal memo at Amazon this week said that Bond will stay male and has to be British or from the Commonwealth.
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Should Bond be British or the Commonwealth? The character - of course. The actor? I think it depends on how well they can do the accent.
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Thinking of actors being extremely good with accents I only come up with British actors absolutely adept and convincing with American accents: Hugh Laurie, Andrew GarfieldâŚ
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Speaking as an American, James Bond should only be played by British, Irish, Australian, Kiwi, or South African actors. Thatâs it. No Americans and no people from any other country.
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MI6 only hires British citizens. I would be in favor of that being the minimum requirement for the fictional version going forward.
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Irish-American* Bond
He is now, yeah, but wasnt that after Die Another Day?
Probably, but Craig gained American citizenship before No Time To Die.
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Which is why he had to die.
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Fair point lol
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Driving off into the dawn with Madeleine was the perfect ending. But noâŚ
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