Never heard of Omega Underground before, either.
If it’s true, I don’t have a problem with Vic returning.
I love his work, too. And the veteran-, old school-aspect of Armstrong’s work can only be good for Bond.
A quick search of that site shows it also reported Dennis Gassner and Thomas Newman returning, going back to last September, which was before a director was attached. Doesn’t the director normally get to pick who they want?
I was afraid of that. Clickbait, obviously.
Most of it is clickbait unfortunately and i think wre so starved for any bit of news that we want anything we find to be true. That’s not necessarily a bad thing. This site is definitely more fun when we actively have new things to discuss.
Im not surprised. He was already EON’s new go to following Lamonts retirement, as Mendes confirmed when making Skyfall.
I enjoy Gassner´s work enormously. And I love that EON keeps building a work family.
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Great if Vic’s returning. Unlike Apted i think Boyle’s eye for the visceral will go hand in hand with Vic’s action chops.
Here’s hoping “The Story Of My Wife” isn’t B25
We’ll get to learn all Madeleine Swann’s backstory.
No thanks I know enough
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Isn’t that Inglorious Bastards?
If you assume so, it makes the last 1/3 of Spectre much more interesting 
I’m a fan of Spectre, it doesn’t need it, but it does push the suggestion Bond is a Time Lord…Dalton actually being a time lord in Tennant’s final episode as lead not withstanding…
Yes, in fact a large % of the crew on Spectre were involved in all the movies going back to the late 1980s.
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I’m desperate to know who is going to be Boyle’s DoP.
Deakins and Hoyte were bloody brilliant. I’m aching to know who it’s going to be, and how they will match Boyle’s visceral directing style. Possible one of his regulars- Anthony Mantle?
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Personally, I’ve never been at all interested in cinematography. It’s all about the script, in my view.
I wasn’t a fan of Hoyte and his yellow-tinted color grading. Deakins was great, but I think Schaefer was a vastly underrated DP for QOS. The photography on that film was stunning in places - unfortunately we didn’t get to enjoy it thanks to the atrocious, hyper-ADD editing.
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I agree on QoS, it often had a slightly burnt out gritty 70s look to it, which I loved. And when the setting dictated it was slick, such as the opera set piece.
I also wasn’t a fan of Hoyte’s yellow tint, but it really worked for the day of the dead pre-tits. And he made the alps epic and at the same time intimate - that shot of bond crossing the lake in a dinghy was fantastic.
Problem is that we’ve now been spoilt with Deakins and he’s the best there is by some distance. I hope he returns.
My guess, though is that Boyle will get to choose and he’ll likely go with a past collaborator. Last thing he’ll want on something of this scale is that extra layer of translation to a DoP he hasn’t worked with.
All director’s would want to avoid that is possible, but Eon seem to want Boyle so much that they’d concede their veto.