THE WORLD IS NOT ENOUGH - Your three favourite scenes

It's all in the name. No 'end credits' answers, etc.

1. PTS
I'm cheating here, but the banker's scene efficiently sets up the film, some nice dialogue and a sense of danger. And Bond's jump out of the window is probably Brosnan's coolest moment as Bond.

Then of course the boat chase is awesomely choreographed, well shot and fantastically scored. One of my favourite action sequences of the franchise.

2. Bond Beds Elektra
Always thought this was a nice little scene. I like the dialogue, the score, the lighting and the nipple slip.

3. Desmond's Final Scene
This gets a special mention. Very touching and it's good to finally see them having a laugh together - at R's expense. Plus having R there adds another dynamic to the Q scene, whilst also staying true to what's been established over the last few decades.

The PTS really should have been by itself, it would have made a nice and rare low key opener for Brosnan, especially with that cliffhanger that reveals Renard watching Bond escape as planned.

Desmond's final scene is very touching and I like the way he leaves by descending down the frame, "always have an escape plan".

Can't think of a third... Daniel Kleinman's credits?

I do kinda agree about the PTS solely being the banker's scene (and the deleted scene with Renard would have meant more Cigar Girl). But it's exciting all the same, and I like how the film transitions into Kleinman's credit sequence after the boat chase.

1. Boat chase. A movie in itself, and the only exciting scene in the entire film. Good dynamic techno scoring as well. Shame it didn't come after the credits, as I dislike almost everything about this film from the ugly oil-sodden credits onwards, except for...

2. Q's farewell scene. Touching, and nicely performed.

Does Denise Richards' wet t-shirt count as a scene? If not, I'm spent. Awful film.

Like everyone else, I'll have to go for:

PTS
Q's farewell
Mrs Sheen's wet tits

Bond killing Elektra. My only addition really to the above few posts.

And as for the boat chase music, kind of wish there was the bit where Bond goes on-road in the official release.

1. Bond shoots Elektra
Although the lustful stop he made over the body before heading out the window was a bit much Brosnan's Bond again like Kaufman in TND showed cold-blooded professionalism and that he puts the job at hand first.

2. The Pre-Titles Sequence
Especially Bond's landing after falling from the balloon and how it transitions into the titles.

3. Zukovsky Rescuing Bond from Elektra
Glad they brought him back and actually used the character in a more meaningful way.

Hilly KCMG wrote:

kind of wish there was the bit where Bond goes on-road in the official release.

Isn't that this bit:

https://youtu.be/Cew0Z7Gxgpg?t=5m

I don't think so, there's a bit of the Bond theme that comes in when Bond shoots out of the cafe before the bus (right after the guitar Bond theme)



about 4.20 to when Bond shoots into the river before the Dome

Admittedly a small part

Ah I see... Good pick up!

It's only a small bit but on these expanded score releases you get from Intrada, FSM etc you get even that (These "Film Version"/"Album Version" tracks). Like it'd be decent to get some kind of release for LTK that includes the orchestrations and maybe TSWLM. Some meat to the bones of both releases.

I've seen a video on YouTube of "Come in 007, Your Time Is Up" done by orchestra and it's the 'album version' so who knows.

And whilst I'm at it, he says grinning, it'd be decent for some versions of DAD tracks like Whiteout/Ice Palace Car Chase without his techno bits. It's like sometimes the two styles of music are fighting to drown the other out.

Anyway.

Yeah some of these CDs have a few tracks and that's it. While we get a good amount on the TWINE soundtrack, I'd love the gunbarrel/banker scene music, the cue when Bond and Elektra ski, and the music when Bond journeys to the bunker before he meets Christmas.

There were expanded TWINE/DAD/CR scores on YouTube but I don't think there's any official releases unlike what came out years ago for OHMSS etc.

Gunbarrel music tracks tend to crop up on the expanded like with OHMSS, DAF etc, I think one of the few exceptions was Goldfinger having it on the original release.

I do have a 2 Disc DAD CD, with every piece of music in the film (including the UA logo), unreleased cues and some other instrumentals and trailer music.

https://www.discogs.com/David-Arnold-Die-Another-Day-The-Complete-Original-Motion-Picture-Score/release/2193816

Mr. Kiss Kiss Bang Bang wrote:

It's all in the name. No 'end credits' answers, etc.

1. PTS
I'm cheating here, but the banker's scene efficiently sets up the film, some nice dialogue and a sense of danger. And Bond's jump out of the window is probably Brosnan's coolest moment as Bond.

Then of course the boat chase is awesomely choreographed, well shot and fantastically scored. One of my favourite action sequences of the franchise.

2. Bond Beds Elektra
Always thought this was a nice little scene. I like the dialogue, the score, the lighting and the nipple slip.

3. Desmond's Final Scene
This gets a special mention. Very touching and it's good to finally see them having a laugh together - at R's expense. Plus having R there adds another dynamic to the Q scene, whilst also staying true to what's been established over the last few decades.

Dare I update this to:

1. PTS
2. Desmond's Final Scene
3. Bond Arrives in Kazakhstan/Meets Christmas
From Arnold's score as the plane touches down to Bond entering the silo, I always very much look forward to this scene. Bond improvising his way through as Arkov, he and the Russian admiring Christmas from afar and setting her up as somewhat frosty, then Richards' walk over to 007 and his not knowing any doctor jokes, and then she spits out some Russian that somehow tickles more than it should. As he enters the bunker, she watches on. And it just works wonders for me. It captures so much about what Bond is. Also worth noting the difference in Bond's approach to these women. With Elektra, it's mature and complex. With Christmas, Bond is more cynical. It's purely an alpha male reaction to tits and ass, and this dynamic piques later after the pipeline explosion.

or

3. "This is a game I can't afford to play"
Bond meeting Elektra in the casino shows the latter at her most alluring, demonstrating a fearlessness and vulnerability that permeates the very best Bond girls. Arnold's instrumental music of Only Myself to Blame is terrific, too. This culminates in the highly intriguing pay off masquerading as high stakes gambling. Bond's suspicions are upped, Elektra is relishing the game of seduction, Zukovsky is suitably poker faced. This is the moment when Bond decides that Elektra isn't all she seems, which is why he decides to sleep with her in their next scene. Turn the tables, seduce her and get her on side. What makes the casino scene so rich is the dissonance he faces between allowing himself to get too close (for comfort?) to a girl who, after the ski chase particularly, has proven to be a true bird with a wing down, and realising something's not quite right. Sex is Bond's best tool to turning women and his reaction to Zukovsky's win sets Bond on the path of sleeping with Elektra, snooping around her villa and taking Arkov Davidov's place. "This is a game I can't afford to play" with Arnold's lush cue really ups the intrigue, danger and sexiness of the scene.

Devil's Breath

Bond/Renard fight on the sub ("Welcome to my nuclear family.")

Bond strolling through the casino with those oh so cool x-ray shades

Ah yes, Devil's Breath. Some sort of amalgamation between Yanar Dag and the Ateshgah of Baku. Highly effective scene to meet Renard.

Q's farewell minus making R a total buffoon which they redeemed on DAD by letting Cleese play him competently.

The torture chair hands down is the best scene in the film. My favorite line of the picture is Brozzer's use of the title with such an air of wistful cavalier anger.

The most iconic moments are the Boat jump from MI6 and the barrel roll over the boat, the still awesome sliding chains shot in front of the charging flames, and the deck jump in front of the factory fireball.

I love the interplay between Bond, Q and R. His demonstrating the jacket always has me grinning like a boy on Christmas (both the day and probably Jones, too).

Having heard the likes of MP and, from back in the day, lazenby. rip Marceau's performance and Brosnan's pain face to shreds, I found myself struck by how much I do like that torture scene. Bond's delivery of the title line is excellent. There is a twang of irony and cynicism and, as you say, the cavalier delivery is beautiful. Elektra's line about meeting in a few years and becoming lovers again speaks volumes of her character. In the bedroom scene between Renard and Elektra, what is so striking is her grieving Bond, which is so unique to the series, that the villain misses the hero.

I'd also add the ski jump ahead of a wall of flame.



Side note, that frame is taken from a website, ranking 8 of the 'Coolest Winter Action Scenes in Movies'.

1. Boat chase

I do like Bond's look after shooting up the office and leaping out of the office but the boat chase is the main focus in the PTS. Not bad music, nice tour as such of London and that leap from the Q-boat onto the balloon.

TWINE was the first Bond I saw in the cinema (indeed, my first film at the brandspanking Odeon that opened in '99). There was a slight groan when Bond shot out of that road or whatever and you saw the Dome the first time. In this country up to 2000, the Dome was derided and seen as an embarrassment. Suggestion is that Blair nudged and winked it to feature in the film for promotion purposes. If true or not I can't say but I think nothing sold the Millennium Dome better than having James Bond fall onto it and break his arm...

2. Bond shoots Elektra

by now Bond's been led a merry road. Shadows on top and behind and everywhere in between. By this moment he's found out she's nuttier than a fruitcake, killed her father, is the brains of this plot and been tortured. The music helps here, that pounding up the stairs and what seems like minor irritation that he has to pause to free M (should've left her there, came back later and dangle the key in front of her: "Let's talk about my vacation...") and then the coup d'main.
Bond I think was a bit foolish to expect Elektra to actually call Renard off, alright she doesn't think Bond would shoot her but by now I'd imagine she was beyond committed. There's the brief moment after he does and then, off he goes.

3. Bond and Renard

not a scene as such but the exchanges ("Haven't you heard!? So's she!" and "she's waiting for you!") work and that last moment after Bond fires into Renard. Renard's look to Bond and Bond back seem to be some sort of salute. "Well, you got me, Mr Bond".

1. PTS Boat Chase

2. Q's prescient farewell

3. Torture scene + Bond shoots Elektra

Those would probably be my picks, having just seen it again.

Sound options, Xenia. I think you captured the three most memorable moments of the film.

Hilly wrote:

2. Bond shoots Elektra

by now Bond's been led a merry road. Shadows on top and behind and everywhere in between. By this moment he's found out she's nuttier than a fruitcake, killed her father, is the brains of this plot and been tortured. The music helps here, that pounding up the stairs and what seems like minor irritation that he has to pause to free M (should've left her there, came back later and dangle the key in front of her: "Let's talk about my vacation...") and then the coup d'main.
Bond I think was a bit foolish to expect Elektra to actually call Renard off, alright she doesn't think Bond would shoot her but by now I'd imagine she was beyond committed. There's the brief moment after he does and then, off he goes.

I think Bond, like most of us warm-blooded heterosexuals, is hoping she's curable. Even at that point. Watching the film, even as often as I have, I'm always hoping Elektra doesn't turn out to be the mastermind behind it all. That's the mastery of this film, wrapped up in the creation of Elektra.

Hilly wrote:

3. Bond and Renard

not a scene as such but the exchanges ("Haven't you heard!? So's she!" and "she's waiting for you!") work and that last moment after Bond fires into Renard. Renard's look to Bond and Bond back seem to be some sort of salute. "Well, you got me, Mr Bond".

Yep, that final look of defeat from Renard is excellent. Good call on that.

Have to say I do prefer the exchanges between Bond and Renard in the bunker. Both in their first meeting but also in Bond's firing a bullet but it being blocked by the bullet proof glass. Renard's dialogue, his ascending and pointing to the bomb is beautifully done, culminating as, HGTB said in another thread, an iconic image of the film: Bond escaping the flames by chain.

Valuable point about Elektra Fields, I wasn't thinking. Elektra's well named really isn't she?

Yes, Bond and Renard in the bunker's good. Bond's moment of weakness after Renard's quoting Elektra's mantra. The pointing is indeed excellent. Bond's look just after. "Fuck!"

I remember being at the cinema early 99 I think (the old cinema now no longer with us), must've been something like Phantom Menace actually (God, I'm old) and the TWINE trailer came out and it had primarily that flight of Bond on the cable. Boom. That was enough for me. No clips of Bond bitching that we all have secrets or that he never left or whatever.

You've triggered something in the old grey matter with that post, Hilly ... was there a TWINE out-take from the pre-credits sequence where Brozzer does actually drop an f-bomb or similar? He's maybe tearing down a staircase in the MI6 building?

Law, I don't know to be honest. Sounds likely. I think we should defer to Fields. He's our man for Brozzer's era.