JAMES BOND 007 DECLASSIFIED
File #3: "Goldfinger"
This series will trace the cinema history of James Bond, while also examining Ian Fleming's original novels as source material and examining how faithful (or not) the films have been to his work.
Directed by Guy Hamilton
Screenplay by Richard Maibaum & Paul Dehn
Produced by Albert R. Broccoli and Harry Saltzman
CHARACTERS / CAST
James Bond / Sean Connery
Pussy Galore / Honor Blackman
Auric Goldfinger / Gert Frobe
Jill Masterson / Shirley Eaton
Tilly Masterson / Tania Mallet
Oddjob / Harold Sakata
M / Bernard Lee
Solo / Martin Benson
Felix Leiter / Cec Linder
Simmons / Austin Willis
Miss Moneypenny / Lois Maxwell
Dink / Margaret Nolan
After the gun-barrel image of Bond firing at the audience, we see Bond emerging from the water somewhere, a fake seagull on his head, and he immediately starts working to infiltrate wherever he is. This involves knocking out guards, firing grappling hooks, and planting plastic explosives all over a bunch of nitroglycerin tanks.
JAMES BOND 007 DECLASSIFIED
So this is where "Twilight" has brought us, folks.
Over the weekend, a full-blown bidding war erupted over the novel "50 Shades Of Grey," which makes sense if you're just thinking of it as part of the genre that has made "Twilight" such a success. After all, the word is that author E.L. James essentially wrote this as a non-supernatural answer to that series. Universal and Focus Features ended up the winner when the smoke cleared... but now what?
Obviously, Hollywood is starting to wake up to the notion that women aren't just "another" demographic to chase, but could be even more significant than the overserved fanboy culture that's been so roundly serviced by the studios for the past decade. While I know there are plenty of young women who enjoy fantasy and science-fiction and action and all those things, there are many young women (and older women, of course) who have been ignored by the studios for quite some time, offered limp romantic comedies as the only real nod to them as a group.
We're at that point in the publicity campaign for "The Avengers" where they kick into high gear, and we start to see footage in all sorts of strange places.
The recent trailers offered up some big moments, and when I was speaking to writer/director Joss Whedon after the live-chat we did at SXSW for "The Cabin In The Woods," we discussed the decision to put that amazing shot of The Hulk catching Iron Man into the trailer.
"That comes late in the film," Whedon said, admitting that he wasn't sure about including the image at first. "But Marvel tested it and they told me that whenever they included that shot in the trailer, the scores went crazy." Based on the reaction online, I'd believe it. In my own house, I can tell you that the focus group consisting of my wife and my two sons were 100% enthusiastic about that image and the trailer as a whole.
The thing that I worry about at this point in the release of a giant blockbuster is that the campaign will start to cough up things I'd rather see in the theater in the context of the finished film. As other promotional partners start to put things out, that's a distinct possibility. Today, for example, Norton Security released a behind-the-scenes featurette about the film, built around a short interview with Whedon.
It makes sense that the Wachowskis are looking forward to their next film now, because they're in the final stages of working on "Cloud Atlas," the movie they made with Tom Tykwer.
I'm dying to see "Cloud Atlas," if only because the book seems so wildly impossible to turn into a film. I love that. I love when artists take on a challenge that big, especially when the conventional thinking would be to do something safe and commercially friendly. After all, the two "Matrix" sequels tarnished the reputation of the series to such a degree that it went from becoming the most promising franchise of the 2000s to being a punchline. And while I love "Speed Racer," it is treated as a punching bag at this point. Even with Tom Hanks and Halle Berry and Hugh Grant and Susan Sarandon aboard, this is anything but a safe bet.
Let me ask you this: why would Christopher Nolan bring "The Dark Knight Rises" to Comic-Con?
Forget about a full-blown screening of the film, which is never going to happen. Warner Bros. isn't going to show 10,000 people something they know those 10,000 people are going to see a week later at $15 a pop. That's just math. But regarding a panel for the film, what would make anyone think that with his final film, following up one of the most successful films of all time, Nolan would suddenly change his entire game-plan and show up with his cast and clips and answer questions?
To be clear, the rumor started to spread last week that Warner Bros. was planning a secret Comic-Con panel for the film, and as the rumor grew, it eventually became "AND THEY ARE SCREENING THE MOVIE, TOO!"
Nope. Not true. Neither one of those things is happening.
When you write about entertainment all day every day, you tend to get caught up in minutiae, and it leads to editorial decisions I would call questionable. When you're writing breathless headlines about Pez dispensers, you may be working too hard to find relevance in the irrelevant. Getting hung up on the micro often prevents us from focusing on the macro, but I'd like to take the opportunity to take a step back from time to time to examine 'The Bigger Picture.'
There have been two stories developing this week that fascinate me because of what they seem to suggest about the larger world of media and the way the audience is starting to truly drive the major choices being made.
Last night, I was thinking about these two stories, about the controversy surrounding the ending of "Mass Effect 3" and the reboot of "Teenage Mutant Ninja Turtles," and I was watching reports stream in about the crowds turning out at theaters for the midnight screenings of "The Hunger Games," and it all seems to be further proof that we are in the midst of The Age Of Fan-Fiction.
Bryan Cranston spent the last two weeks on the set of the new film 'Get A Job,' and was just getting ready to leave for the set of "Breaking Bad" when a group of reporters sat down with him to discuss his role in the film. In the middle of the interview, he confessed to having serious disagreements with director Tony Kaye, most famous for fighting with Edward Norton on the set of "American History X."
In trying to frame a question about how Cranston picks his projects now that he's not worrying about financial stability, one of the reporters brought up the example of "Detachment," a new film that is on VOD now, and rolling out in a limited release this week in a few cities theatrically. He told Cranston he loved the movie and then started to ask his question.
"Wait," Cranston said, "did you like 'Detachment'?"
Bryan Cranston may have been sporting a full head of hair on the set of the new film "Get A Job" this week, but that won't last long. The actor is on a plane today to return to the Albuquerque location of his critically-acclaimed hit show, "Breaking Bad," and sounds thrilled to be getting back to work as Walter White.
During a conversation with a group of reporters visiting the set of the comedy, Cranston was asked about the difference between building a character like White over several years of a television show and on a film where he has significantly less running time to make an impression. "I'm so excited. I finish this Thursday night, my last day, and then I'm on a plane Friday morning. I buzz my head over the weekend. And then we're in front of the cameras on 'Breaking Bad' on Monday."
I would assume that for some people, the kick that comes from seeing "The Sweatbox" is because they know Walt Disney Pictures really doesn't want you to see the film.
I'm excited to see it show up online today because I think it offers a rare honest look at a development process that is anything but easy. So often, even when you see what is called a "detailed" making-of film, what you're seeing has been sanitized to show you the triumphs of filmmaking without dwelling on the defeats.
That's nonsense, though, and it does a disservice to the people who work on these movies. You have to be willing to get things wrong in service of eventually getting them right, and that means you have to be willing to make mistakes and try some bad ideas and, in general, screw things up. That's really the only way to get to the great stuff, no matter how talented a team you're dealing with.
This makes me happy on so many levels.
I may not write about him as frequently as some of my other favorite filmmakers, but David Cronenberg is very near the top of the list of working directors whose work is important to me. He's got one of the great voices in movies, and I look forward to each new film he makes. I didn't particularly like "A Dangerous Method," but the rare one-off from him doesn't make me any less fond of the vast majority of his body of work.
When they announced that he was adapting Don DeLillo's "Cosmopolis" into a film, it was exciting because the author's voice is so distinct and strong that watching Cronenberg insert his own perspective into that material seemed like an exciting creative cocktail. So far, DeLillo's work has pretty heartily resisted film adaptation, but there was a time where I would have said the same about William S. Burroughs and J.G. Ballard, and Cronenberg did pretty well by both of those guys.