It certainly has more to do with NTTD than it did with SP (that is to say, absolutely nothing).
Agree: The bulk of Kleinman’s work seems to be a bit, erm, busy for me: too many colors/ images/ motifs doesn’t work as well as the simpler ones. CR was certainly his high point (sticking to a single motif- playing cards) and to a lesser degree, SF (still a bit busy but the color palette was restrained). NTTD falls into the “too busy” camp along with TND/TWINE/SP.
Of course, DAD has it’s own set of problems that I won’t go into here.
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Or that Eon talked to Sam Smith about what the two huge relationships were adding to Bond in a way that many didn’t get until No Time To Die?
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Skyfall is my favorite MTS of the whole series. I love that it literally feels like a fever dream.
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I didn’t have a problem with Kleinman’s work for No Time To Die. To me it felt like an amalgamation of OHMSS and GE, while also bringing something different to the table. I liked the sinking Aston through the watch cogs, and the hourglass imagery. The bullet trails creating pictures of Bond, Madeleine, Vesper and Blofeld was clever. I’d keep him on board.
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The sinking Aston was from a scene scripted but never shot with Bond purposely crashing the DB5 into the ocean before putting Madeline on the train.
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How would that of worked? Matera is a pretty good drive from the ocean…
God knows. It was in script stage, there’s a good chance it was set in a different place in the script, then they got Matera so the crashing of the DB5 had to go
Actually not that far, merely 25 kilometers down south. In an Aston Martin, with Bond behind the wheel and giving chase, maximum 10 minutes.
That bridge from the PTS is actually 25 km up north from Matera (in Gravina in Puglia) and they still used it 
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I was thinking more about Bond and Madeline getting back to the train station on foot…
Ah, I see. 
Bond movie magic certainly would have made that possible.
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What a beautiful tribute to Craig as Bond:
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Wow. That was quite emotional and satisfying.
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In the script for Dalton’s third outing, he and the girl drive the car over a cliff to escape a robot car matching their moves and used double ejector seats to parachute to safety. So it sounds like they were recycling that part of a previous script as EON often does.
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That doesn’t sound like a Dalton film at all. Also, does a copy of that script exist anywhere?
According to the book „The lost adventures of James Bond“ the scripts for the third Dalton film would not only have been much more playful but also they would have catered to Dalton’s idea of Bond feeling too old for his job, with many awkward quips about it.
Bond driving his car deliberately into the water? No way…
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Oh, and I didn’t even get to the part about the robot femme fatale
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That was excellent. Very emotional and does a great job of stitching the narratives of all 5 films together. With how well No Time To Die wraps up the Craig era, I somewhat lament that the other Bonds never got a proper send off.
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This very nice tribute contains a shot I had missed, and that solves the mystery of why Vesper was buried in Matera:
Above “Vesper Lynd 1983-2006”, we read “Elena Saviani ved. Lynd 1958-1985”
From this we learn:
- that Vesper had a Pugliese mother and a presumably British father;
- that her father died before her mother, because “ved.” is short for “vedova”, “widow” in Italian;
- that her mother herself died when she was only 2;
- that Bond was therefore right in his cold reading session on the Montenegro train, when he labelled her an orphan;
- the probable reason why she was raised by the British side of her family : Emilia Saviani, presumably her maternal grandmother, died in 1980, even before Vesper was born.
Wow. I love the attention to detail in this film.
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