It would certainly be interesting what kind of approach he would follow on another Bond film.
But I wonder how Forster´s standing within the industry is right now. I understand he is embarking on a new bigger budgeted film but I can imagine he has made too many bad experiences with blockbusters.
I believe it is a live action Winnie the Pooh film.
Yes, back to B25 news…
Erm.
Gosh, can you imagine what the internet age would have done with ‘Dr No will be played by a monkey’?
Is that any worse than ‘Stacey Sutton will be played by Tanya Roberts’?
While we patiently wait for solid, factual Bond 25 news to discuss, I give you this as a distraction…
Yay, another rumor about something that probably will not happen 
Seriously, with May slowly creeping toward its end and the Cannes Film Festival closed, shouldn’t there be hard news about something like… the final distribution deal?
And shouldn’t THE DRAFT be ready to evaluate whether Hodge will indeed be the writer of BOND 25?
C´mon, EON… MGM… whoever…
Whats the next event Boyle will be at? Craig returning was the last thing officially announced, everything else has been sound bites caught on a red carpet.
Ousted but still messing with it.
Wonderful, these billionaires who don’t give a damn about movies…
This is what always happens with CEOs. They get “fired” and yet still collect their millions of dollars. Whereas, lowly workers such as ourselves are thrown to the curb…
To be fair to the man, him being removed from that position doesn’t mean he stopped owning 10% of the company. It’s not like he was given a “golden parachute” after the fact or anything…
Come to think of it, the way Barber came into possession of those ten percent at the time wasn’t entirely without spectacle either…
That said, there seem to be different versions regarding golden handshakes floating about. Barber had a valid contract that was only just renewed. This kind of thing cannot just be cancelled without the respective putative clauses coming into effect. Safe for massive misconduct like embezzlement of company funds I cannot think of a situation where Barber would not get his pound of flesh out of being sacked. This guy was a CEO whose contract alone cost a smallish fortune in lawyer fees.
I was listening to commentary around AFL here in Australia, and someone said a struggling team in particular is losing a generation of fans due to their poor form. The existing supporters have nothing to cheer about and are losing interest, and they’re not attracting new fans either.
I just hope Bond 25 gets made soon and the transition to Bond 7 isn’t delayed, because the same thing is true here. I know it’s beating a dead horse, but these long gaps aren’t good.
Just read a book then.
Cinematography, music, editing, set design- these are what makes movies, movies. And set them apart from other media.
The photography in QOS was utterly gorgeous. You just never got to see it properly due to those over caffeinated editors…
As an editor i can confirm that we’re over caffeinated!
But, it’s not our fault… Even when i say “No thanks!”, the producer or director plonks another fresh coffee in front of me, because they think it’ll make me work faster - faster, perhaps, better, definitely not.
And guess what, i usually end up drinking it without even noticing. So caught up in the latest act of damage control i’m attempting to implement i look down and the coffee’s drunk.
Before i can ask where it went i realise the reason i’m all angsty, pushing buttons like i’m trying to deactivate a nuke in a circus tent; editing like a clown on speed is because on full autopilot i just drank that whole mug of caffeine.
Then another appears beside my keyboard curtesy of the drug paddlers sat behind me and by lunchtime i’ve lost count.
So don’t blame the editors for editing like they’re being paid-by-the-cut without also taking a swipe at their caffeine enablers
Even worse, editors not only get caffeine-dependent on their jobs, the are also dependent on what directors and producers tell them to do. Like writers. Or cinematographers. Or costume designers and art directors and so on.
And it cannot be more obvious: the visual strategy of QOS was a direct echo to Greengrass´ “Bourne”-films. Because that was en vogue and supposed to be cutting edge at that time.
Bond films echoed other styles since the 70´s, of course, but QOS was the first one to echo another spy franchise instead of other trends like Blaxploitation, Kung Fu or Space Operas.
Maybe it´s not even possible anymore for Bond to set a trend. It has all been done before.
However, I would not be surprised if the next echo in a Bond film were a superhero expanded universe.
And I don´t like that idea at all.
It’s what all writers, directors and editors have in common. Caffeine dependency. That method of action scenes was very much a Foster choice (one I certainly enjoyed) but more importantly, for this thread at least, it demonstrates how EON in the Craig era is willing to give its directors full control. I think a viewing of Trance is in order to get an idea for how Boyle approaches action.
So true!
One caveat: The good PDs don’t ‘tell us what to do’. The job title for that is not editor, it’s ‘button-pusher’, though there are indeed many button-pushers out there…
The edit suite pecking order on paper is a different one in reality, definitely not b/w. In reality it’s always a collaboration, the extent of which is at the whim of experience and ego.
Good PDs value the insight, fresh eyes and storytelling nouse of an experienced editor. They collaborate to find the best version of the film.
There are also not-so-good PDs that are aware of their limitations and are grateful for an editor who can take the reigns. This means more work for the editor, but that can be mighty rewarding so long as, internally credit is acknowledged, rather than stolen.
The bad jobs are with the PDs who are piss-poor, but ever so well endowed of ego. They believe they are, or worse still, pretend they are (the corporate-psycho) homo-superior of edit suite.
It’s arguments all the way and when all is complete they take credit for what works, despite having wanted the opposite and pass the buck on what doesn’t. I’d like to say that these parasites are eventually found out, but alas more often than not they reach elevated positions, despite all those they’ve crossed being legion.
A couple of times i’ve called them out, but when the mud slinging begins everyone gets covered in it. Now i tend to get the job over with and never work with the psycho again.
Lets not forget the ‘Carry On…’ trend circa early 70s - mid 80s 
Nor I, but i imagine you’re right.
It’s a decent stab at a Hitchcockian thriller, rather than an action movie. It’s canvas is pretty small - it’s plot tight, but not particularly cinematic - more suited to tv. But it just about does what it needs to and is always entertaining.
I think 28 Days Later and Slumdog are far closer to the ‘action’ genre than Trance, particularly the former because it’s narrative is on the move location-wise and involves chases/survival. I’m not saying this is all that’s required of a Bond movie, but if you can’t do this stuff (Forster) then you’ll struggle directing Bond.
I think 28 Days made ‘the chase’ and it’s locations feel very fresh, despite the zombie apocalypse genre being already hackneyed. And in terms of gritty, visceral portrayals of survival Boyle has a very strong resume.