Published On: Mon, Aug 17th, 2020

James Bond: No Time To Die’s ‘EMOTIONAL’ script teased for Daniel Craig’s final 007 outing | Films | Entertainment

As it stands, Daniel Craig’s fifth and final James Bond movie will hit UK cinemas on November 12. The few trailers fans have seen tease a mysterious plot in the aftermath of 2015’s Spectre. And now No Time To Die cinematographer Linus Sandgren has teased the “emotional” script.

The Oscar-winning Swedish DP featured on Roger Deakins’ podcast Team Deakins where he was asked about working on the new Bond film.

Sandgren said: “When I grew up I was very inspired by Bond, Indiana Jones and adventure films as a teenager.

“I initially went into scuba diving from watching Bond movies.

“[I was] flattered to take on the 25th of something that has been going on for so long.”

READ MORE: Halle Berry recreates 007 bikini shot: Talks Bond and fitness at 54

The cinematographer continued: “I was also very interested in Cary Fukunaga, the director, from his work.

“In our initial chat I just felt we connected on so many levels, in regards to how he wanted to make this film and in regards to how he looked at films in general.

“He’s not afraid of following the script in a direction that he feels the script needs to go.

“And he doesn’t like to stick within his own way of making movies, so you can see in his films they can look very different.”

Deakins himself was cinematographer on 2012 Daniel Craig Bond movie Skyfall.

During a press conference for 1917 last year, asked what influence his 007 team-up with Sir Sam Mendes had on the WW1 movie.

The director said: “You bring all the things you’ve done together into the relationship. We’ve done four movies now together and, I think, it becomes almost at times telepathic.

“You know each others’ tastes very well, and trust each other hopefully. And the best days are sometimes the days where you say almost nothing to each other.”

The Skyfall and Spectre director added: “I know that sounds almost weird. He knows if I’m talking to him a lot things aren’t going well basically. But y’know you look at each other and nod and say ‘that was the one.’

“A lot of the movie just came from talking, between the two of us; an instinct as to when the camera should be subjective or objective. Or when we should see the geography because it’s a dance between camera, actors and landscape.

“And the three things are always moving. Our conversations were just the beginning of the whole process and the foundations of everything.”

While Deakins added: “I think Jarhead really informed a lot. Although very different in technique to this, because that was all handheld, but emotionally the same in trying to get the same connection between the camera and the character. I felt that really informed quite a lot for us.”

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