Well the Omega I think he wears anyway as he helped design it. I went for 10 seconds going by the last two where he appears as book ends. Mostly though I’m looking forward to seeing this ad - I’ve really liked the previous Heineken tie-in ads (though the Gillette on for Spectre was the best of the lot)
Everybody thought I was nuts when I said Annapurna was the domestic distributor so I’m trying to go 2/2 with the wedding ring 
“Put it all in red”
(all in good fun, of course)
I’d play it safe and stand on 5…
Those who want to stay alive play it safe.
But yeah, unlikely though it may be, I wouldn’t be surprised either way if part of the plot (at the beginning at least) is Bond leaning into married life.
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…and then he looked at the check.
“We have this idea about what we want to do with Bond and I felt we should have a go because of this idea. So we are trying to stay true to our principles.”
Bit odd, no?
Surely the sequence of events up to now was: BOND 25 script by P&W - Boyle pitches his idea to Eon - script by Hodges is commissioned - and convinces everybody to give Boyle the gig.
From Boyle‘s perspective this rather reads as if he was approached (by Eon) and only then the spectacular idea took shape…
Perhaps he just didn’t want to follow Skyfall . Was approached after the Olympics has this idea, Skyfall is brilliant, he decides against following it or rather EON want more if the same and the rights to the SPECTRE property becomes available, the Boyle idea is shelved to get Mendes back , now times right for both parties
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A good film rests on its script. This is fact, and has been proven time and time again. Spectre was disappointing because of flaws with its script. This ‘chuck out the Purvis and Wade script and bring in the Boyle one’ has me nervous. Have the P&W action sequences been shoehorned into the new Hodge script? Are they completely different in tone and have the potentially fantastic action sequence ideas been lost to history as the film moves in a completely new direction? It would be nice to think there was some kind of long-term plan but as each film proves, there is none. It is all up in air due to money and nothing ever gets done till the last minute. Worrying.
Mmmm… Perhaps a Bond version of Layer Cake?
A successful British agent gets two tough assignments from his boss on the eve of his planned early retirement.
And we all know how that one ended.
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If the 2012 Olympics are anything to go by, Boyle could deliver something crowd pleasing, and perhaps something more playful?
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The Olympics gig was a fun little episode, but not really more than a tiny vignette that got its main attraction from its two larger-than-everything characters. Everything with the Queen and Bond in one frame would have been a huge success. Boyle’s clip also had the corgies, how could that go wrong?
Pains me to say this, but, alas, not true. Good films have been made from patently bad scripts and it is a rarity for the script that got commissioned to be exactly the same as the film that gets released.
Is it so hard to find a director who does not think that James Bond is beneath him?
I would love to have a director who loves Bond and cannot wait to direct one. Instead EON seems to seek out people who always have to be persuaded to work on these.
Sure, it is possible that artists who usually do not like a particular subject can bring their perspective to it and create something interesting.
It is, however, very often the case that those artists try too hard and thereby deliver a lackluster film.
I hope that Boyle and Hodge really have a fantastic idea for BOND 25.
I suspect however that the real reason for Boyle to sign up is that he is in desperate need for a big hit.
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I have a mate who lectures at lipa, he was talking to Boyle before this and he said his reservations were entirely due to how bad his experience on The Beach had been, destroying many personal and professional relationships, some of which he’s still rebuilding. He was assured by MGW and BB that his experience will not be like that on this and how big or small he wants the picture to be is up to him. He also apparaly finds that he’s already worked with all 4 of his inherited cast (only one of which he HAS to use) quite comforting.
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Pressure on Universal to ensure that Bond 25 makes over $1bn at the international box office:
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That is comforting to know.
But, to remain sceptic: producers always assure that everything will be fantastic. And then it turns out… well… differently.
Interesting part: “how big or small he wants the picture is up to him”. Really?
‘One billion dollars, Mr. Bond.’
I got the impression that was more in response to his reservations about big films rather than actually expecting his film to be a small indie piece.