the music in spectre film first action sequence

THE MUSIC IN SPECTRE FILM FIRST ACTION SEQUENCE MOVIE
THE MUSIC IN SPECTRE FILM FIRST ACTION SEQUENCE FULL

He’s the only person who’s insured to do 360 flips in this helicopter in the world, so we’re doing a bit of the stunts here but kind of the bigger helicopter stuff is happening 10 hours outside the city at a lower altitude. The helicopter is piloted by a guy called Chuck Aaron, who is a stunt pilot. Skiara jumps on, Bond follows, pulls off one of the baddies, Bond jumps on the helicopter, helicopter goes up, and they start to have this fight in the helicopter.

THE MUSIC IN SPECTRE FILM FIRST ACTION SEQUENCE FULL

Helicopter lands, it’s full of a couple of other baddies. As the running Skiara is on his mobile phone he’s calling for backup, cue the helicopter coming down the street. What we’ve been shooting over the past couple of days is Bond chasing Skiara slowly making their way through the Day of the Dead parade. The baddie’s character is called Skiara, who’s played by Alessandro Cremona, he’s an Italian actor. He sees two baddies across the way having a conversation, and he stops something really bad from happening, kills one of the guys, the other guy goes running, Bond jumps out of the window and there’s a bit of a chase, he causes a building to explode and they both end up-boom-on the ground, and the foot chase starts. They’re going up to Estrella’s room, Estrella thinks she might be bringing Bond to bed but instead he’s looking out the view of her window. They’re kind of weaving their way through this Day of the Dead parade, they make their way into a hotel-we’ve also shot here once before in The Living Daylights. Estrella is played by Stephanie Sigman, who is a Mexican actress. It starts with Bond and Estrella, who are walking down this Day of the Dead parade. This is the opening chase sequence of our film. They appear, moreover, to be the only passengers on the train.It really sounds fantastic and it should be between twelve to fifteen minutes of screen time! Madeleine and James’s train journey comes with vodka martinis in the dining car followed by a colossal woodwork-splintering punch-up with a beefy henchman.

but it is all part of the escapist effect. It is of course ridiculous that the pair manage to get away from there to Tangier in such stunning changes of outfit without worrying about suitcases, money etc. When he recognises Bond in the room, he leers: “I see you! Cuckoo!” – a French expression which in fact is to have a darker significance, revealed at the end.įrom here we go to Austria and this is where Bond is to encounter his main amour: Dr Madeleine Swann, stylishly played with just the right amount of sullen sensuality by Léa Seydoux. Waltz’s chief is an almost papal presence of menace, upsetting all his cringing subordinates by saying and doing next to nothing, and photographed in shadow. Then he is to infiltrate the horribly occult headquarters of Spectre itself – a wonderfully old-fashioned “evil boardroom” scene for which Mendes manages to avoid any Austin Powers/Dr Evil type absurdity. Director Sam Mendes contrives a stylishly extended continuous tracking shot to bring our hero into the proceedings and it isn’t long before an outrageous set-piece is in progress with a helicopter repeatedly looping the loop while 007 vigorously punches the pilot and a fellow passenger.Ī clue salvaged from the chaos puts Bond on the trail of Spectre, taking him at first to Rome where he has a romantic interlude with a soigné woman of mystery, played with distant languor by Monica Bellucci. We start with a gasp-inducing action sequence in Mexico City for the Day of the Dead. The script by John Logan, Neal Purvis, Robert Wade and Jez Butterworth runs on rails with great twists and turns and gags. He is particularly vexed at the news that a sleek new car has in fact been reserved for 009. “That all sounds marvellous,” he purrs when advised of some footling new procedural restriction, adding later: “That all sounds lovely.” Yet there is also an elegant new dismissive tone that he introduces into the dialogue bordering on camp. At one point he simply snaps the plastic handcuffs the bad-guys have put on him, with sheer brute strength. He has flair, sang-froid, and he wears a suit superbly well by bulging his gym-built frame fiercely into it, rarely undoing his jacket button and always having his tie done up to the top. That great big handsome-Shrek face with its sweetly bat ears has grown into the role. He is one of the best Bonds and an equal to Connery.

Craig showed they were wrong: and I hope he carries on now.

THE MUSIC IN SPECTRE FILM FIRST ACTION SEQUENCE MOVIE

Is this Craig’s last hurrah as Bond? His somewhat tetchy remarks in interviews preceding this movie – indicating a readiness to quit – oddly mirror the tetchy media comments that greeted the news of his casting almost 10 years ago.

The music in spectre film first action sequence