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David Poland

By David Poland

Sony Decides To Make A Bond Spot That Feels LIke A Bond Spot

6 Responses to “Sony Decides To Make A Bond Spot That Feels LIke A Bond Spot”

  1. AH says:

    Welcome back, old friend.

  2. actionman says:

    Deakins shooting a Bond film gives me heart palpatations.

  3. Philip Lovecraft says:

    Love the bit when he shoots his cuffs on the (1/2) train. Welcome back, indeed, 007.

  4. Amblynman says:

    I don’t trust Mendes as an action director, but that looked good.

  5. Bennett says:

    I’m happy with SONY/MGM’s marketing dept. on this. It’s James Bond, we know what we got, let’s keep some mystery in the story. As one of the few people that saw License to Kill and Living Daylights on opening weekend, I would have been there regardless.

    I hope to get that amazing Blu-Ray box set this Christmas. Hopefully there is some amazing Amazon sale on it.

  6. Joe Straatmann says:

    They also just released the International trailer with story bits and more than a shadow of Javier Bardem. Looks good, though Bardem seems to look like a tougher Klaus Maria Brandauer or something. It was very odd when I first saw him.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima