“There was a mad rush to juggle things around in the schedule,” Cross said.
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Unfortunately, the most trouble-plagued Bond production (with Fukunaga replacing Danny Boyle and doing a full rewrite) was further blindsided when Craig injured his ankle early in Jamaica and was out of commission for several weeks. The director continued to humanize Bond, making sure there was always an emotional connection to every moment, including the visceral action, when, for instance, he takes time out during the fight in Cuba to have a drink with CIA agent Paloma (Ana de Armas). It was all part of Fukunaga’s strategy of making Craig’s swan song an opulent-looking romantic adventure (shot by Linus Sandgren on both Kodak 35mm and 65mm film, and with action filmed in IMAX).
No time to die opening title sequence movie#
This is a Bond movie that travels longer in time than any previous one.” “And that was something that was always in the script: Start with a time period and get the audience thinking, go to a second time period, which picks up shortly after ‘Spectre’ end, and then after the main title sequence, jump five years later. “Bond movies have always been epic in scope, but this movie is also epic in time,” said Cross. “But we knew we were on the same page as Cary, and ultimately the producers and stood by it because they all realized how important it was to the story.” “No Time to Die” MGMĪlso innovative: the pre-credit teaser introduced temporal complexity. “The thing we always loved about not seeing Bond for such an extended period was that people were going to think: What movie are we watching?,” Cross continued. Plus, Fukunaga was adamant about establishing surprise and disorientation from the outset, given the gut punch that throws Bond off balance in the pre-credit teaser. The story and emotion always are going to come first, not pacing.” One of the things Cary’s famous for is trying to get as much story in there as possible. What we called the doughnut square with the Aston Martin could’ve ended the pre-title and pick up at the train station after, but it felt like we needed to break when broke off his relationship with Madeleine.”Īdded Graham, who previously worked with Fukunaga on “Beasts of No Nation” and a Levis commercial: “We all asked a question at some point: Can it be a flashback? Can it be intercut? But very quickly we went, nope. and once you got into the action, you had to tell that story because it was so braided with the Madeleine betrayal. We knew that we were always fighting length. “Elliot and I were always concerned that the powers that be were going to have us get rid of the Norway story,” said Cross. Rami Malek in “No Time to Die” Christopher Raphael It’s a 20-minute tour de force that begins with a frozen horror encounter in Norway between young Madeleine (Coline Defaud) and baddie Safin (Rami Malek) jumping to present-day Italy with the “We Have All the Time in the World” romance of Bond and Madeleine (Léa Seydoux) followed by betrayal at the tomb of Vesper (Eva Green) two thrilling chases through the narrow alleys of Matera Bond and Madeleine finally escaping a furious shootout with Spectre in the trusty Aston Martin DB5 and then Bond saying goodbye to Madeleine at the train station.ĭesigning a Showstopping and Terrifying Ursula for ‘The Little Mermaid’īut for editors Tom Cross (the Oscar-winning “Whiplash”) and Elliot Graham (the Oscar-nominated “Milk”), keeping the pre-credit teaser intact was of the utmost importance in protecting Fukunaga’s vision, especially in beating back worries about kicking off with the Norway sequence without the presence of Bond (only the fourth time in franchise history).
Yet that meant setting up “No Time to Die” with both of these tragic love story threads in the longest and most daring pre-credit teaser in franchise history. And his catalyst was revisiting the ghosts of the past from “Casino Royale” and “On Her Majesty’s Secret Service.” But, of course, with the ironic twist of killing Bond. Thus, the challenge for “ No Time to Die” director Cary Joji Fukunaga was completing Bond’s arc. Daniel Craig’s James Bond quintology was a brilliant juggling act of maintaining and subverting franchise conventions, especially in exploring a first-time journey for 007.
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