To already have written off Bond 25’s ending a bit premature surely?
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Ah, I see your point. Oops! I somehow read it as ‘Bond 24’!!!
I blame trying to read while eating chicken chow mein, being audibly assaulting by nanny McPhee at far too high a volume and telling the 6 year old stop throwing cushions at the lamp shade 
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So creative differences are not an effort by the producers to get it right? At least in their minds? Hmmm…
Welcome to the world of subjectivity and the vagueness of “creative differences” when describing work on a predominantly creative endeavour - the description could describe ANYTHING
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Many thoughts on this, but not enough time at the moment. I do agree that this is Universal more so than Eon and it does give them an added buffer for both post and marketing beyond us fans chomping at the bit as it were. As long as production still rolls on the 4th, we’ll be fine. I’ll take it as a silver lining.
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Well I could be naive, but I can’t see Eon disagreeing with something that would make the film better, which would be the only scenario that doesn’t support my position. Oh well…
Marc Forster would have loved to have had an extra seven weeks for Quantum of Solace. I seem to recall him mentioning how difficult the short post production schedule was with them only having six weeks total to lock down the final cut.
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But what Boyle/Hodge thought would make the film better might not be what BB/MGW thought would. Subjectivity being key.
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Isn’t that what I originally wrote? If they don’t agree with what Boyle thought was better, then in their opinion they believe the film would be better without it, thus getting it right - in their opinion. This is just common sense. I don’t want this to seem like I’m being combative, I’m truly trying to understand why my opinion that creative differences did in fact play a small part in the delays.
It’s more creative differences as a description is intentionally vague so as to cover anything. I kind of suspect that EON said to Boyle that they wanted another writer, but Boyle’s own experiences on The Beach made him adverse to dropping his go-to guy and just chose to leave instead.
WELP that’s not good.
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The filmmaker is now in London and will be spending at least 4 weeks rewriting the ‘Bond 25’ script for what I’m told is a king’s ransom sum.
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His caption for this is “ Work in progress…”
As far as heads ups go, this one I guess was pretty good. We’ll know in a few weeks where we stand. Lot of money at stake.
What’s Playlists rep like? Their news section is…let’s say tardy, and do we really trust a website that has a a tip line tab over Variety?
A use of an anonymous source who contacted ONLY their tip tab rather than a more reputable source, before posting it on twitter with a hashtag that’d connect it to actual news today…
Also their picture attachments are stolen from a quick google search (note the omega picture from CR, just reversed)
The looks of click-bait are all over it…
Sounds like a more than competent guy to take over the writing duties, so no worries there (other than whether or not he has enough time to properly do his job).
But, my goodness, is it really this hard to make a Bond film?
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This is BEYOND ridiculous and acceptable 
F**k it!! I’m done with this crap!! 
Guess I’ll start focusing on Star Wars Episode IX and Mission Impossible 7 & 8.
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I think the people who make them would emphatically answer yes. Especially the people who have to try to write them. In fact, some of the scriptwriters have stated exactly that. To come up with something new and original that still feels like Bond? I’m glad that’s not my job!
It’s not as though Bond has been “new and original” for quite some time, yet they’ve continued to rake in the dollars despite that fact. Heck, we’ve seen remakes within the franchise before to varying degrees. The storyline that Roald Dahl came up with for You Only Live Twice has appeared now three times in the franchise (You Only Live Twice, The Spy Who Loved Me, and Tomorrow Never DIes). A View to a Kill is a remake of sorts of Goldfinger. Thunderball has been remade (albeit unofficially), and we’ve had three versions of Casino Royale. Not to mention the constant “inspiration” that the films take from what other films are doing at the time, and the need for these things to be new and original has long since sailed.
Ultimately, I think the writers aren’t the ones to blame here. It’s those that ultimately decide which scripts they’re going to go with. It sounds as though we’ve gotten original thoughts from the writers fairly consistently, especially during Craig’s tenure, and even some of them have been tacitly approved by the powers that be in some form of preliminary stage, but when it comes down to it in the end, cold feet prevail and things end up having to go back to the drawing board. From what we read of the leaks surrounding Spectre, that was a film that had the potential to be a radical departure for the franchise. What we ultimately got out of it, though, was one of the most mind-blowingly dull action films to ever be placed on film. And now EON’s following a similar production strategy, albeit this time with the added bonus of having lost a director in the process.
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Honestly looking back I wouldn’t be surprised if this was yet again a case of wanting to reconfigure the third act of the film. That always seems to be where they hit a wall. I hope they can pull it off. MI managed it.
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