Thanks DO-A.
Interesting how they expanded up through OHMSS, then a two-minute reduction for DAF.
Then seesawing for several outings, then inflation under Dalton and Brosnan Bonds, followed by significant deflation for Craig Bond, which itself is quickly reversed, and expanded to new length in the last film.
NTTD definitely was an outlier which should not become the blueprint.
I think a PTS should be the length it needs to be, but it will work best if it really is just an appetizer, an intro for us to get out of our world and into Bond‘s, with the titles enveloping us and then sending us into the plot.
I do generally prefer a PTS to feature Bond, but I’m not dead set against it. Especially in an age where I think the villains aren’t developed or introduced early enough. They may not be as satisfying in the moment, but structurally villain centric sequences can be very effective in the long term. FRWL and TMWTGG establish the threats Bond will have to face later in the film. When Grant garrottes the imposter you know he’s going to get another chance against the real man. When the assassin fails in the funhouse, you wonder how Bond fare against the same obstacles.
My cut of the PTS would have been the Bilbao office jump, the deleted scene of Renard speaking to Cigar Girl, then cutting to the title sequence.
Interesting idea!
Reverse the concept and have the villain of the story introduced in the PTS, one glimpse into his „business“ - and immediately we know the threat Bond will be up against.
It is always interesting to see what is the general opinion in the Bond fan community, especially when you focus on the various ingredients of a Bond film. And the PTS is one of the most recognisable of any Bond movie (even QR/QoS which redistributed all ingredients did not deviate from this tradition).
What I think is a key element of a PTS (and of a Bond film in general), is the first establishing shot that sets the tone of the movie, and the whole PTS could be seen as a director’s note.
This is why TWINE will fall towards the bottom of my list, as it has basically no such establishing shot. It looks like we are directly thrown in the first half of a Bond movie, “and by the way, it’s Bilbao if you’re interested in the locations”.
The Thames boat sequence is a great moment, but the whole sequence looks like a post-briefing first action scene. By the way, I think they completely spoiled the element of surprise that was supposed to be the attack on the Mi6 headquarters. As you are still in the PTS, you know there is still some action to come. Following the usual template with a post-credits briefing, that is interupted by an explosion, the adrenaline would have been much higher.
The Bilbao bank scene is nice but as you say it is too short for a PTS (maybe that’s the build-up in the directing that is too weak, TB was quite short too but the chateau fight was a real burst). Actually I think this sequence could have been scrapped quite easily.
If I sum up my reflexions, it appears TWINE would have no real PTS at all!
Regarding NTTD, although it is technically a PTS, it does rather appear as a prologue to me than a classic PTS. From this prologue on you know you are not in a classic Bond movie at all (and many people say this is no proper Bond movie), although they do keep all ingredients for this one (gunbarrel, PTS, credits, spectre, vodka martini, gratuiteous Bond theme “back to Mi6” sequence, vilain’s lair…).
Here is for my list for the PTS
Moonraker
Efficient plot introduction (the one film where you see the name of the movie prior to the credits), “we need Bond where is he ?”, last leg and incredible (and beautifully shot) stunt sequence. And the final with Jaws does not ruin the sequence for me, this is just how this character ends every confrontation he has with Bond (this was already the case in TSWLM).
Goldeneye
Starts with an iconic bungee jump (as methaphoric as skiing of a cliff), and applies the Gondfinger template perfectly. The sound mixing tough is not the best.
The Spy Who Loved Me
The PTS first seems stuck in the sad visuals of the 70s, and we do wonder if we are going to see Bond at all and if this is still going to be Moore. But then we are back into business, Bond is there, and he is as confident as ever in anything he does (reverse front flip, easy ! Union Jack parachute, just in case)
The Living Daylights
Actually the best assembled PTS from the series. Starting with a “where is Bond” game (as in FRWL, TB, TMWTGG, TSWLM, SP), in parallel to setting the main plot, then the Bond reveal, action starts, John Barry introduces (again) a new sound.
Missing only a little more crazyness to make it i the top 3 (we will have some crazy stunt again in LTK but the full sequence is not as good I think)
The Man with the Golden Gun
The presentation of an iconic villain. With this isolated, exotic location, he seems to live at the end of the world. We see he is a trained assassin and possibly Bond’s match. But a cheat. And we all know Bond will have to face him on his on field.
Skyfall
Great first shot, great Bond reveal, great reveal of the location, great chase sequence, all with increasing inventivity. Great PTS overall!
Goldfinger
Defines the “Bond PTS” as a mini-adventure that tells you that you are now watching a Bond film, and this is going to be fun.
Casino Royale
This movie was really well written, and this is also the case for the PTS. Moving the gunbarrel at the end of the sequence to introduce the colorful world of James Bond through the credits is such a great idea ! The fight is brutal, as for the 2nd kill (clever quick shot on the guy’s family picture…). The only criticism would be the unloaded gun trick, that we had already seen multiple times before.
Tomorrow never dies
Bombastic action sequence, with nice Bond introduction and final Bond move. This just says: enjoy the ride!
Quantum of Solace
Directors note again. This Bond will be shaken, quick, violent, suave and quite beautiful visually. Love the score too.
The editting of course is crazy throughout the movie, but for this PTS I think it works (but I admit I would have appreciated it ic they had slown down the movie by 10%)
Octopussy
Uses the Goldfinger template perfectly. Nothing to say, well done!
Licence to kill
I really like the visuals, the action, the score, the stunt, but the storytelling is not the best. There is too much going on in parellel that prevents to enjoy it just as an introduction. We are already too much in the main plot.
No time to die
More of a long prologue to the story than a traditional Bond PTS, but that was the intent, it is completely coherent with the movie and every thing is well done.
For your eyes only
A classic sequence. Not related at all to the seriousness of the movie, we are just happy to see Moore is still there, looping great, and the stunt team as inventive as ever.
Thunderball
Connery takes place in the gunbarrel and kills is stuntman double Bob Simmons. Love the fight (even the old school edits by Peter Hunt), love the new version of the Bond theme by Barry. Not such a fan of the jetpack, but it is iconic.
From Russia With Love
Another introduction for a great villain. First fake confrontation between Bond and him is a good idea: how will it turn out when they finally really meet? (we know this will happen and Bond will have some trouble). The reveal of the Connery-mask is a little outdated, it is weird that a Spectre agent would wear it to confront Grant (everybody around knows this is not Bond he is killing). So this is only intended for the audience, but this trick is more of a Mission:impossible formula (altough the series only started in 1966).
OHMSS
Peter Hunt’s best directing and faithful adaptation of Fleming’s novell. And he does not introduce Lazenby as Bond, he reintroduces Bond as a character. Not very much action but well done for what it intends to tell.
Spectre
Great first shot and travelling sequence of course, but the sépia color is cliché, the score is too familiar (I like the introduction by Tambuco, but the rest is just Skyfall 2…), the helicopter fight is great on paper but not as impressive as FYEO, while the stakes should be higher with all the people below.
Diamonds are forever
Of course it is fun to see Connery back with his relaxed tone, but the action and the stakes are very low. By the way, I never considered it his as a revenge sequence, to me it is Connery-Bond who’s had enough with fighting Spectre every movie, and wants to kill of Blofeld once for all.
Live and let die
One could arguee this is no proper PTS either. Bond’s collegues being killed is a usual post-credit sequence that motivates the mission (Dr No, Octopussy). And it looks more like the PTS of a tv series like the Avengers. Still, it introduces the locations and there is a good taste of bizarre that sets the tone very well.
A view to a kill
I do not mind the California Girls, as the sequence had aleeady failed to be as thrilling as intended to that point. Great score by Barry tough.
You only live twice
Great enemy action to start, but Connery-Bond only for 30s is as lazy as ever (he does not even stand up). A director’s note I tell you.
The world is not enough
Fails at being a proper PTS to me, as said above.
Die another day
Actually like this one on paper, but the photography is awfull, the blue screen quite obvious, the dialogue not very great… A missed opportunity as the idea for the credits was great.
Here are the results of the four people who so far have ranked the pre-titles sequences:
MOONRAKER – with a cumulative score (tallying up their placements in the rankings) of 7 for a 1.8 average.
THE SPY WHO LOVED ME – with a 13 score for a 3.3 avg.
GOLDENEYE – with a 23 score for a 5.8 avg.
GOLDFINGER – with a 24 score for a 6.0 avg.
TOMORROW NEVER DIES – with a 34 score for an 8.5 avg.
OCTOPUSSY – with a 35 score for an 8.8 avg.
THE LIVING DAYLIGHTS – with a 42 score for a 10.5 avg.
t8. DIAMONDS ARE FOREVER – with a 45 score for an 11.3 avg.
t8. THE WORLD IS NOT ENOUGH – with a 45 score for an 11.3 avg.
t10. SKYFALL – with a 47 score for an 11.8 avg.
t10. NO TIME TO DIE – with a 47 score for an 11.8 avg.
QUANTUM OF SOLACE – with a 48 score for a 12.0 avg.
THUNDERBALL – with a 52 score for a 13.0 avg.
ON HER MAJESTY’S SECRET SERVICE – with a 54 score for a 13.5 avg.
FROM RUSSIA WITH LOVE – with a 55 score for a 13.8 avg.
FOR YOUR EYES ONLY – with a 57 score for a 14.3 avg.
t17. CASINO ROYALE – with a 61 score for a 15.3 avg.
t17. SPECTRE – with a 61 score for a 15.3 avg.
LICENCE TO KILL – with a 63 score for a 15.8 avg.
DIE ANOTHER DAY – with a 68 score for a 17.0 avg.
THE MAN WITH THE GOLDEN GUN – with a 73 score for an 18.3 avg.
A VIEW TO A KILL – with a 76 score for a 19.0 avg.
YOU ONLY LIVE TWICE – with an 82 score for a 20.5 avg.
LIVE AND LET DIE – with an 88 score for a 22.0 avg.
Thanks to all those who participated.
Next up: Theme Songs.