A missed opportunity in NTTD - Q should have referred to that switchblade plane thing as Big Nellie
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One Nellie referencing another? Too meta.
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The ambient nature of the score works really well when reading the book or imagining those events too. The main title usage in Aki, Tiger and Osato is one of my favourite parts in all of the Bond soundtracks. It’s a moment of relaxation that washes away the stress and worries of life like waves calmly lapping on a beach. And then you have the doomsday dread contrast of Capsule in Space, which is also one of Barry’s best cues. However 007 and Counting from DAF is similar and just about as good.
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I hum “Capsule in Space” regularly, whether I’m in the shower, or cycling outside, or at work. Knowing that when someone hears it, the average person has no idea where that melody came from.
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After the sumo wrestling scene she decided she was bored and we ended up watching TND.
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Not quite sure where to put this
https://twitter.com/SpyHards/status/1762472159925170343
I’ve not listened to it yet, but I’m guessing he’s the 204th person who came up with replacing Timothy Dalton with Pierce Brosnan.
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Starting again with a new actor was the right thing to do even in restospect. But would have a third Dalton film killed the franchise? If they had something more in line with The Living Daylights and toned down the Licence to Kill influences the perceptions could have been reversed. Moore’s era especially found its footing with his third film, so who knows? But even if it was a box office disappointment I don’t think the series would’ve been dead. Just dormant, like it is now.
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I agree, Cubby was right when he said Dalton had to do multiple films or none at that point. I was more making a point that every man and his dog claims to have come up with that.
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The treatment and ideas for the third Dalton, however, were horrible (with a killer robot etc., absolutely far from the gritty tales of his era). And Dalton reportedly wanted to emphasize the age, with lines like „I‘m too old for this…“
Maybe we were lucky not to get the third Dalton after all.
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Moore had a massive success with his first and so hit the ground running. It was bigger than almost all his subsequent films.
TMWTGG was a rushed production and suffered from a director that perhaps should have been replaced. The third took time to gestate and care and attention paid to it.
Dalton wasn’t popular in the US and I imagine at the time, that’s where they wanted to have the main market. I don’t think a comparison can be made imho.
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Watched already DAF three times and Moonraker twice this year. I really have to restrain myself with titanic strength not to watch them again, because there’s so much more to watch. 
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I understand. You are in my thoughts and prayers.
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I empathise. Can I suggest a possible Octopusssy diversion?
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From Russia With Love is always a great palate cleanser. Afterwards you will ask yourself why this perfect spy thriller has never been emulated enough again.
Well, The Living Daylights came close(r).
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I wholeheartedly agree on both counts, @secretagentfan. How hard is to to make a movie where Bond actually spies and investigates with the emphasis on suspense and not over the top action set-pieces? But alas, I fear those days are long gone.
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Watched You Only Live Twice in black & white; it’s weird anyway, but weirder yet like that.
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That’s actually an interesting idea: which Bond movie would work best even in b/w?
DN, FRWL - yes. GF - partly. The goaaald would lose its appeal. TB: well, surreal, too, especially the underwater fight. OHMSS - probably.
DAF - no. But maybe we should consult our expert on that.
LALD, TMWTGG, TSWLM - no. MR - like TB, surreal, maybe.
FYEO - could be.
OP - no.
AVTAK - could give it that serious arthouse taste.
TLD and LTK - no. The Brosnan era - no. CR, QOS, SF - maybe. SP - easy joke here: wasn’t it already in monochrome? NTTD - see AVTAK.
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Remember those old German paperbacks from Scherz? They used to have b/w covers with some sort of detail colourised, usually in gold.
I found these bizarre motifs endlessly intriguing…
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Eh…“Mondbliz” is “Moonraker”? Never heard that title before…
I have a German pocket of Wood’s version, but that’s just called Moonraker.
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The main reason why FRWL is my favorite Bond movie: it’s one of the rare occasions that Bond actually does “spy” work. I love how he checks into the hotel, searches the room for bugs and finally does the coolest Bond move ever, when he tosses the phone onto the bed and while keeping the receiver in hand.
IIRC, we had this discussion ages (and I mean ages) ago. I’ve always been of the opinion (and I’m not only talking about Bond movies) that it helps when the director and/or the cinematographer has worked in b/w before and knows about the limitations and how to handle them. And with “worked” I don’t mean those who decided to do b/w for artistic reasons, but those who had to because there simply was nothing else. To those guys, color is just an extra feature, but in most cases, their movies coud do without.
I actually had a b/w TV set in use well into the early 2000s, I’ve made my experiences with that. I remeber that I once tried watching Burton’s Batman on it. Turned it off after 20 minutes – totally unwatchable. 
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