… and why is it OHMSS?
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At least with the footage from the Bernese Alps, Mürren and Schilthorn, the answer is the location is simply one of the most beautiful you can imagine. Those helicopter shots of Bond’s arrival and of the raid are amongst the most fabulous in the series. In all fairness though, Deakins’ work on Bond and Sandgren’s is quite outstanding too.
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I’m not in the industry so I’m not quite sure how to describe this, but I like the style of filming where the viewer can see everything in the frame - ie. where the foreground action may be taking place in the centre, but you can still let your eyes wander to the edges and discern the set details to the left and right. It’s sort of akin to exploring.
Newer films seem to rely more heavily on post-production, filters, and aggressively blurring the background. To me, that can make the footage look artificial. And less immersive. With location shooting in particular, I don’t get the same acute sense of place with the Craig films as I do with the Connery, Lazenby and Moore films. I love their epic natural splendour. Their locations seem to have more impact.
There’s no denying that parts of NTTD looked absolutely gorgeous. But unnaturally so. And while I appreciate that in its own way and I admire the skill involved, I do think it has robbed us of something, and I rather lament the passing of it. [With apologies for the lack of a more precise understanding of what exactly I’m talking about here!]
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This. It’s an example of how digital enhancement/correction has moved aesthetic…and not always for the better. Though perhaps future generations may not even mind the difference, smaller screens, shorter attention spans, sensibilities subject to algorithms so on so forth.
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I’ve always liked the framing and color on Martin Campbell’s movies. I think they look really cool.
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