And then, she hired Martin Campbell the director to try and revive the franchise - which he managed to do especially in Casino Royale, which was a commercial success and really unearthed the English-speaking mainstream public to Eva Green who went onto substantial successes in more movies.
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| 'I just know you guys are going to f* it up!' |
But then - and for me you can see the signs already beginning to creep in in Casino Royale when someone is placing various policy pressures onto the director - the whole enterprise goes badly downhill in a very tragic way when the entire Bond 'canon,' let's say, the authentic book-based narrative about what this thing is all about, turns into some kind of political propaganda pantomime horse.
And that is because there is a difference between 'writer,' and 'screenwriter.' The two things are not the same at all - and neither Purvis nor Wade are acknowledged writers with any real body of print work published beforehand.
A screenwriter is a visual logistics manager or documenting clerk. A writer deals with all kinds of ideas communicated in the first instance through words and language. And there are some ideas that have no visual image analogs to render the real sense of them. In films they require to be implied by scenes, images, and perhaps sound - and even then, they will rely on the audience having an ability to make the impressionistic leaps needed.
'Petrichor' has no direct visual analog. 'Aldehyde' hasn't either. Nor does 'louche;' at least not in the modern world.
Once you have the screenwriters also bringing their own personal private life biases into the stories which are not part of the real originator's 'canon,' you massively run the risk of losing the audience that made you rich in the first place who liked what was there when they were attracted to the product.
Len Deighton and Leslie Charteris were significant writers long before they worked on Bond films as screenwriters, even though they were both good screenwriters, especially so Charteris. They understood what today's Bond developers appear to have no clue about, which is that the Fleming stories do not revolve around the following:
Weird Characters
Location
Politics
Crazy Objective (of inverted 'protagonist' character; namely, the villain)
Anti-Protagonist (Bond)
Conflict caused by Bond blocking the objective
Car-chase
Violence and pain
Dangerous edges
Explosions
Bigger Explosions
Huge vast explosions
Credits and music
...What they revolve around I do know - but it would cost you a damn lot of money to get it from me!
You're on your own coughing up twenty bucks plus coke and popcorn money for the rubbish you will get from Eon and the two gay guys inclusive one heroin addict. Good luck.
Music is - Arnej 'People Come People Go' (Maor Levi Remix)
