Oberhauser

The reason I mentioned TDK is that I felt ever since the screening that Silva resembled the Joker in terms of plot structure and that SF was trying to borrow elements from other currently successful film templates which is the Craig era's defining guideline.

As much as it pains me to say, I agree on that Python. If they had done ANYTHING with the idea or development than it would have been somewhat palatable.

it is ridiculous to think that after all the years of complaints that Austin Powers ruined classic elements for audiences that they then rip off the stupidest element of Goldmember-yet in the climax of that film they actually play off the newfound relation element and show both Dr. Evil and his minions in a new light.

As I said in my opening post, I agree it's disgraceful idea. Even if something was done with that dynamic it would have been terrible. No need to force yet another contrivance onto viewers because it's a bitter enough pill to swallow (though I understand Eon are intent on forcing themselves into corner).

What would be more palatable is Oberhauser becoming a SPECTRE agent to get vengeance on Bond. Still not the best idea but it's better than ruining Bond's most iconic adversary. Mendes was merely interested in explorable Bond's past and it could have be done without dragging Blofeld into it.

HGTB wrote:

it is ridiculous to think that after all the years of complaints that Austin Powers ruined classic elements for audiences that they then rip off the stupidest element of Goldmember-yet in the climax of that film they actually play off the newfound relation element and show both Dr. Evil and his minions in a new light.

And complaints by Daniel Craig no less! The very man who co-produced the film! Which probably means he had a big say on the direction of the film. And given the amount of power we know Craig has, if he wanted, he could have changed that aspect.

But he didn't.

A thought came to mind, imagine if Dalton had been co-producer back in the day. Fighting against John Glen. Though Brosnan as co-producer...

Brosnan, as co-producer on DAD, hopefully would have reined in Tamahori.

Bond: Damned cold in this ice palace, Graves... YA SHOULDN'T BE LIIVVVVIIIIIN HEEEEEERREE!

EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEERRRRRRRRRRRRRRRRRRRRREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
...
What goes on in this ice palace is none of your business.

Brosnan thought Tamahori apparently was a good choice as did the producer because of ONCE WERE WARRIORS. Why I have no idea. I saw the film and it got a lot of nominations but in no way says: Let this man do Bond! Just like American Beauty, True Detective etc.

Dalton I think did his part well in that like Roger he successfully inserted himself into the ongoing series and made his opinions clear yet found ways of working with the team collaboratively to create a unified front. And I think Glen seized upon this brilliantly to great effect. He had developed a rapport with Roger over the three films and now found himself with someone who shared more of his ideas.

hegottheboot wrote:

Brosnan thought Tamahori apparently was a good choice as did the producer because of ONCE WERE WARRIORS. Why I have no idea. I saw the film and it got a lot of nominations but in no way says: Let this man do Bond! Just like American Beauty, True Detective etc.

I think by the Brosnan years EON started focusing more on directors who were proficient with dramatic scenes, or at least had some kind of eccentric vibe that would give a new Bond film a different flavor. One that intrigues me the most is that they approached Joe Dante for TWINE. I have no idea why exactly they thought he would be their guy for that kind of film, but maybe that was during a very early draft that would have reflected his sensibilities? Jerry Goldsmith once turned down scoring Bond, but with Dante maybe he would have been encouraged? Marvel has taken this approach to hiring eccentric indie directors like Taika Waititi, and THOR: RAGNAROK is probably one of the better Marvel films.

Cary Fukunaga is technically accomplished. That is something that transfers across genres. Hence why he could go straight from a "Jane Eyre" adaptation to "True Detective" without missing a beat.

To be honest, the director is the one thing I'm not truly concerned about for Bond 25. I think the biggest problem is going to be a totally disinterested Daniel Craig only returning for a huge payday, a man who clearly has no remaining enthusiasm for either the gig or the character.

Sam Mendes is an accomplished director but his ideas are what made SP a miss. Cary Fukunaga continuing the same arc started in CR is what leaves me cold. It's the same thing they did for SP, even retconning Skyfall's standalone narrative, as you know.

And I found his Jane Eyre to be mediocre.

Makeshift Python wrote:

hegottheboot wrote:

Brosnan thought Tamahori apparently was a good choice as did the producer because of ONCE WERE WARRIORS. Why I have no idea. I saw the film and it got a lot of nominations but in no way says: Let this man do Bond! Just like American Beauty, True Detective etc.

I think by the Brosnan years EON started focusing more on directors who were proficient with dramatic scenes, or at least had some kind of eccentric vibe that would give a new Bond film a different flavor. One that intrigues me the most is that they approached Joe Dante for TWINE. I have no idea why exactly they thought he would be their guy for that kind of film, but maybe that was during a very early draft that would have reflected his sensibilities? Jerry Goldsmith once turned down scoring Bond, but with Dante maybe he would have been encouraged? Marvel has taken this approach to hiring eccentric indie directors like Taika Waititi, and THOR: RAGNAROK is probably one of the better Marvel films.

That's spot on. i just don't know why they thought ONCE WERE WARRIORS was the drama to pick.

I had never heard of Dante ever being approached. That's interesting and to be honest i don't think he would be able to get the tone right but would make a damn fine effort to do so.

Oh dear lord, Goldsmith has been my long held great "what if they had composed for the series" candidate. I think he would have had a field day and it kills me he never got the opportunity. Which film/era was it and do we know why he turned it down?