Also, am I crazy or is that sheet music on a piano behind him? Between the bookshelves and everything else, it looks like his (or somebody’s) study.
Anyone else think Garden of Death with the “death or paradise” lyric?
Here’s a quick thought. What if that scene of Madeline in the water and Bond running up to see her immediately follows the shot of the little girl swimming up toward the ice. So in other words, the little girl swims up toward the surface of the ice and you cut to an adult Madeline emerging from the sea and Bond running up to greet her. There’s a quick scene and then we enter the title sequence.
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And then, after the title sequence, cue the shot of the two in the DB5 entering Matera through that made up tunnel they build. And off we go. Yes, I think that’s it.
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Mhm. What stood out was the cloudiness of the ocean scene. That cool blue/gray tint is a good match for a segue from the frozen lake. Who knows, maybe Madeleine goes so far as to say something like, “ We should probably get going,” to which Bond replies, “ We have all the time in the world” and he dives into the sea, and into the MTS.
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I don’t think that’s what it means.
I’ve been back and forth as to how the film will begin. The song dropping yesterday (which makes specific references) led me to again believe Matera was the opener. But I’m leaning in favour of your interpretation now. I do think there’s something to the Madeleine in the water comparison. It would be a good way to integrate Bond into the scene, much like TMWTGG’s PTS. If Matera was the PTS, I think it would be a lengthy sequence, as long or longer than TWINE.
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It’s quite possible BOTH could be part of the PTS.
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I’ve been thinking about this too. It feels like the title should follow the events in Matera, as it basically refers to what happens between Bond and Madeleine. I can imagine the titles beginning as Madeleine leaves in the train, and Bond stands on the platform. However, that would make for an extremely long pre-titles… with all the backstory in Norway and then a lot to get through in Italy.
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Indeed. We have the DB5 arriving in town, Bond and Madeleine outside their room, the morning outside the tomb, the bridge jump/motorcycle chase/DB5 chase and then the train departure. I’m thinking it’s a case of Billie focusing on the Matera content, given it provides the film’s overall emotional crux. Perhaps the film doesn’t have flashbacks at all (apart from the sequence involving young Madeleine under the ice), and follows a linear structure. The time jump could be for Jamaica and that’s it.
My current best guess is that the film opens out onto the Norway sequence, then jumps forward roughly 25 years to Matera (soon after the events of SPECTRE), then maybe after the titles jumps forward 5 years to Bond alone in Jamaica. Then the rest of the film continues in the present day - Jamaica, Cuba, London, Norway/Russia or wherever Safin’s lair is supposed to be.
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Another short new teaser! Yet more new shots.
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It does look jolly good, doesn’t it?
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Oh yes, it definitely does from here.
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The structure that makes most sense to me is:
Gunbarrel
Norway
Matera
Title Sequence
London? (kidnapping of the scientist)
Jamaica
Cuba
…and so on.
I think it makes most sense to start the film with the flashback, show us what happens with Bond and Madeleine in Matera, then the title sequence (the song fits with the fallout of Matera I think) and then we show the kidnapping of the scientist as the catalyst of the film, which also leaves us without Bond for a bit so we can feel that five year gap slightly as an audience when we see him in Jamaica.
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I don’t know that they would start with the frozen lake sequence (assuming thats what you’re referring to as Norwat) - I think theyre more likely to just go into Matera straight away - a pre-credits scene playing like the finale of Casino Royale would be enough - I think you want to have some mystery about Madeleine and her secret/“betrayal” through the film
Great to see Craig in an old school villains lair gun battle.
I hope there’s also a return to Bond finding novel ways to overcome his obstacles, such as Moore driving on train tracks in OP…
Craig’s arc is from blunt instrument in CR, literally running through walls, to outsmarting the villain in creative and unpredictable fashion; pulling the rug from under the villain’s belief that they’re the smarting guy in the room.
In LALD early Proto-Bond Craig would’ve fought those alligators one by one with his bear hands. Now he really needs to be smarter and skip across that seemingly inescapable dilemma.
This and the short Billie Eilish song trailer (in which I love the look on Craig’s face through the train window) are the best yet.
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That shot of him in the woods is so cool. Great spot.
So Bond must change into a tux after meeting Paloma. I wonder if we’ll get a mirror scene to his dinner jacket bit in CR. This is one staggeringly beautiful film.
EDIT
Also cool to note the final sting of the Bond theme at the end of the latest tv spot is the one they used while marketing Quantum of Solace. Pretty neat they’ve been using renditions from the prior marketing campaigns to wrap things up!
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