It's Bondathon Time! Dissecting Tomorrow Never Dies with Jon & Alex from Play Pause Turn!

Is Pierce Brosnan's second outing as Bond his best?

Yes it's your favourite time of the month - BONDATHON TIME!

Join me, Alex and Jon as we dive into "Tomorrow Never Dies," the 1997 James Bond film that throws Brosnan's Bond into a high-stakes media war.

We'll discuss the film's action sequences, the gadgets, the iconic villain Elliot Carver, and of course, Pierce Brosnan's portrayal of 007.

In addition we look at how hiring David Arnold to score the movie may or may not have been a stroke of genius on the part of the producers.

Tune in for a thrilling exploration of this classic Bond film!

Enjoy!

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Jon Evans https://twitter.com/jonprevans
Alex Hansford https://twitter.com/alexhansford

Credits
Tailoring Talk Intro and Outro Music by Wataboy on Pixabay
Edited & Produced by Roberto Revilla
Connect with Roberto head to https://allmylinks.com/robertorevilla
Email the show at tailoringtalkpodcast@gmail.com
Tomorrow Never Dies is a United Artists / EON Production. All views expressed on this episode are the opinions of the hosts.

Transcript

Speaker 1: 0:00

One more day.

Speaker 2: 0:01

Oh yeah, should we do a podcast, get it.

Speaker 1: 0:07

What's his podcast? Oh it's mine.

Speaker 2: 0:16

Yesterday is a memory.

Speaker 3: 0:19

Today is history. Tomorrow is in the hands of one man.

Speaker 2: 0:30

Bond. You know the rest. Tomorrow never dies. Now shooting around the world.

Speaker 1: 1:28

Some of us have seen them all. Some of us are seeing some of these movies for the very first time. We deep dive into each film, covering everything from our overall review to the plot clothes, gadgets, cast behind the scenes, stories and our favourite moments. If you haven't already, please help the show by subscribing and leaving us a rating and a review. Step back into the tailoring talk time machine as we head to 1997. I can't believe it's that long ago, after the success of Goldeneye, making MGM super attractive to potential buyers, and following the repurchase of the studio by billionaire Kirk Kirkorian, it was decided that Bond 18 would be the first important release under the new ownership. Yes, it's time, for tomorrow never dies. The first in our mission briefing is the man whose tech expertise ensures that for us, just like for Bond, tomorrow never dies. As an IT teacher and avid gamer, he's our go-to when it comes to outsmarting digital foes and cracking codes. In a world where technology rules, john Evans is our key to making sure tomorrow is always within reach. John, how are you?

Speaker 3: 2:47

I'm really well. At the same time, I am about this day old when I realise that tomorrow never dies, literally refers to the newspaper. I didn't realise that and so I rewatched it. This episode. I feel like I've spent nearly 50 years being stupid, but otherwise I'm really good Good Actually.

Speaker 1: 3:07

Now that you mention it, there's a lot about this film that I realised I was only realising for the first time. I think it was probably the first time I watched it, actually paying attention to the plot and the dialogue and everything that was actually going on, Because this is just one film full of set piece after set piece after set piece, but we'll get into that soon. We are also joined by I'm not quite my freaking intro. I worked so hard to change the intros this episode and I fucked it up already. Next it's the Gadget Guru with a heart of gold. In a Bond universe where tomorrow never dies, he's the man ensuring our gadgets are always one step ahead of the game. His insights bring clarity and foresight, much like you, provide the tools to ensure Bond's tomorrow is never in doubt. Welcome back, alex Hansford. Alex, my friend, how are you?

Speaker 2: 4:04

I'm very well. Good evening all.

Speaker 1: 4:08

You both seemed a little stunned. After those intros I changed it up.

Speaker 2: 4:14

I feel like the standards really increased. I'm just surprised.

Speaker 1: 4:20

Good, and then I'd written an amazing intro for Mark, but he's not here. Should I read it anyway? Yeah, go on. So it was meant to be rounding off. Our team is the man who reminds us that in a world where tomorrow never dies, sometimes the simplest methods are the most effective. He may not be the tech wizard, but in a Bond story, he's the character who proves you don't need the latest gadget to make a difference. For him, it's all about using what you've got to ensure a brighter tomorrow For the second time on the Bondathon except it's not. It's Mark Holmes. Mark, how are you? Oh, all right, bobby, I'm all right. Yeah, yeah, what are we doing here again?

Speaker 3: 5:08

Is it.

Speaker 1: 5:08

Brosnan John was trying to say something clever there and he broke up because his internet is absolutely shite today, can't hear you John.

Speaker 3: 5:27

Yeah, I will. I'm the internet gadget. It's very frustrating.

Speaker 1: 5:37

Yeah, we just got internet gadget out of all of that. So anyway, moving on in the edit, we'll realize what you said and I strung it all together Right. Ok, let's get into this. Before we get started, we need to get our spoiler alert in. We will be sporting the living daylights out of this movie.

Speaker 1: 5:54

If you haven't seen Tomorrow Never Dies, where the hell have you been for the last 26 odd years? Hit pause, go see the movie and rejoin us after. So 1997, it's really funny with this film because it had kind of average reviews. It's got John's just disappeared. It was kind of like around about a 57, 60 percent John's coming back in now on Rotten Tomatoes and it was generally like a two to three and a half out of five with most critics, which is kind of weird. Watching it now because I won't spoil it for the end of the episode, john, I was just saying to Alex that when this film came out the reviews were very, very average, like really middling. The film grossed $333 million from a budget of 110. It was 20 mil short of GoldenEye, but then it was competing with another film this year. Do either of you know what that film was or can you remember what that film was 1997. An Arnie film, oh what? No, it wasn't an Arnie film.

Speaker 1: 7:05

But, weirdly, Roger Spotterswood, who directed this film, did direct an Arnie film. Can you guess which one? And then we'll go back to the first question. We'll go back to the first question Commando no, commando no. The sixth day. And then what was the first question I asked?

Speaker 2: 7:27

Oh yeah, what film Help me?

Speaker 1: 7:29

Jack, what film? Yes, that's it, got it Titanic.

Speaker 2: 7:34

It was Titanic. It was Titanic.

Speaker 3: 7:36

See, the trouble is my internet at the moment is too slow to be able to get ahead of you with your answers like Alex can, so I don't have to use my real brain rather than the hive mind that is the internet.

Speaker 1: 7:47

So this is also the first Bond movie where the title has got no reference whatsoever to any of Fleming's previous works. Tomorrow Never Dies was actually an accident, because one of the mooted titles was actually Tomorrow Never Lies. Tomorrow Never Dies was never ever on the possible names for this Bond film sheet that was faxed to the studio.

Speaker 3: 8:15

That makes way more sense. Tomorrow Never Lies, with the whole theme of the newspaper called Tomorrow.

Speaker 1: 8:19

Yeah, that's it. So Tomorrow Never Lies is what went on the fax, but it was mistyped as Tomorrow Never Dies and the studio liked it so much they said that's what we want as the title of the film. They went into production because they were on a very tight deadline. They were given a hard stop release date of I think it was the 12th of December 1997. And that was not movable. So they basically were on a very, very tight schedule and they actually started shooting without a proper working script, which, funny enough, also happened with Quantum of Solace. But this is a much better movie. I think I can say that now.

Speaker 3: 9:05

I think the script problems. Bobby, is why Anthony Hopkins, who was signed on to be carver, gave up in the end and left the set.

Speaker 1: 9:12

Really. I just heard that he decided to do Zorro with Martin Campbell, who directed GoldenEye.

Speaker 3: 9:22

Well, he walked off a couple of days because it was chaos on set and there was no shooting script no shooting script. So he did appear in the Mask of Zorro. That was a year later in 1998. But it's a shame because I think he would have been better than Jonathan Price, who is a great actor, but I have my issues with him as a bad guy in his film. I love the film. We'll talk about it later on, how much we loved it. But yeah, we'll talk about Jonathan Price later on, I think, when we come to our characters.

Speaker 1: 9:52

So Rodgers-Botterswood, I don't really know his work, so I looked up and he did Air America, which I think was a Mel Gibson movie. Good film yeah, I've never seen it. I know a lot of movies from the posters and the trailers from the 80s and 90s but I hadn't seen a lot of them. I got a feeling he did stop on. My mum will shoot. I have seen that film, but yeah, but he originally had approached the producers to direct GoldenEye when what's his face? Timothy Dalton was still attached to the role and then they went with Martin Campbell for the rebate and then Martin Campbell jumped ship. He didn't want to do two bomb firms in a row because he was knackered and also he was doing Zorro anyway.

Speaker 1: 10:44

So yeah, so Rodgers-Botterswood got the job and I think he did a really, really good job with this film, like really really good. We'll get into that in a bit Filming. They couldn't do it, but you remember from the last movie they found that sort of abandoned warehouse thing and then ended up creating a movie studio out of it and that is what we know is Leavesden. They couldn't film at Leavesden this time because another film had just been given that lot. Do you know what film it was, and it will be something tied to a saga that is close to all of our hearts.

Speaker 3: 11:26

I've got to be Star Wars or it's got to be a. See my first thought of Star Wars.

Speaker 1: 11:30

Yeah, so George Lucas have been given Leavesden for the Phantom Menace.

Speaker 3: 11:36

So they used it for the green screen work, did they? I have?

Speaker 1: 11:39

no idea, I didn't read that for because I was most afraid to miss was green screen, doesn't it?

Speaker 3: 11:44

So if you look at some of the set dressings there, it was pretty much all green screens.

Speaker 1: 11:48

Yeah, it was just George Lucas at home on an Atari ST, you know Canterdark.

Speaker 3: 11:53

Grandminder In a Garth Edward, exactly, yeah, that's it.

Speaker 1: 12:01

So yeah, there we go.

Speaker 2: 12:02

So it's served at Pinewood in Elstree, wasn't it?

Speaker 3: 12:06

Ironically yeah, so back at Pinewood.

Speaker 1: 12:10

Yeah, but they also found an abandoned supermarket and sort of turned that into a, into a filming thing as well Cast and crew. So Brosnan returns. When you watch archive footage from interviews of him you can kind of see how passionate he is about the role and how he's really taken ownership of it. And there's some cast stories I'll share in a few moments where he maybe kind of got a bit too passionate about it. But he, he was Bond as far as he was concerned and it really shows in this film. I mean I think he did a really accomplished job in GoldenEye. Anyway, he didn't kind of look nervy in the role or anything. I mean he looked like he was born to play Bond. But this one, I think, is where he really makes it his own.

Speaker 3: 13:02

He's a very powerful man, isn't he, Pierce Brosnan? Don't you think he's? So handsome and has a very beautiful man.

Speaker 1: 13:08

He's aged so well. Yeah, Like he looks so good Like in Fire Saga, the Eurovision movie with Will Ferrell.

Speaker 3: 13:17

Rachel.

Speaker 1: 13:17

McCaddon's. I love it. It's a great film.

Speaker 2: 13:21

So he's got like this. He's got this sort of distinguished look to him. That just doesn't age, that's really nice.

Speaker 3: 13:31

Yeah, I mean, the best bit is he's not perfect. I love his flaws. I mean he can't sing for Toffee in Mamma Mia, and that makes people love him even more.

Speaker 1: 13:39

Yeah, totally, but he did do. I thought his accent in the Eurovision movie was really good, anyway. So, yeah, it's a very happy about him coming back. And then the villain played by Jonathan Price, and I thought he did a pretty good job. I mean, it was a bit cartoony, but also I don't know. The things he does in this film, though, are so loathsome, like so horrific really Killing people, killing innocent people, just so that you can manipulate the news and the media and manipulate people, and it's just, it's horrible.

Speaker 3: 14:25

It really is. And I mean, did you not think, though, that of all the Bond films we've seen so far, this one feels the most topical in its material in some respects?

Speaker 1: 14:39

Yeah, very, and again, critics at the time kind of thought it was a little bit farfetched, whereas critics now, where I've read modern day reviews where they've kind of revisited the film, they're sort of like, oh actually, anyone who can't make any parallels between what they were trying to say at that time and what has been going on the last sort of six or seven years has got to be absolutely fricking nuts. Well, the character of Eddie at Carver was actually based on Robert Maxwell. Hence M's very pointed telling them to say that you know he died having fallen overboard from his yacht or whatever. The very, very definite reference to Robert Maxwell. But yeah, he was loathsome and I guess that's kind of.

Speaker 1: 15:27

Is that what you want in a Bond villain, or was it a bit too far? Because I really was. I mean, I had my hand over my mouth at a lot of the stuff that was going on and I really did find it. I don't know if it's me getting older and maturing, maybe I don't know what it is, but I just you know like where, where those sailors are in the water and then he, he has them all completely murdered in cold blood. I mean the actual submarine that they fricking sink in the first place or the ship. Sorry that they sink in the first place just to steal a nuclear warhead and for the headlines and everything.

Speaker 3: 16:00

Absolutely fricking horrible the HMS, does it have the HMS? The HMS Devonshire, the Devonshire, yeah, yeah, I just you know, I just found it awful.

Speaker 3: 16:10

Is it a 12? This film, I think it was a 12, isn't it? And that scene there where you see the officers and the you know, the soldiers, the Navy guys, bodies floating up into the ice. I thought that was, I thought that was quite. Even even now, I found that quite disturbing and I thought to myself there's yeah, actually was it a 15 when it was first released and maybe they bring brought it down to a 12. That was struggling as being 15 when it came out of my time, I think it feels like it would have been.

Speaker 2: 16:43

So it's a 12, but there was quite heavily cut, so it may have been that the version that you're seeing now is is is gorier than than than what we would have seen at release. Right, maybe so. But yeah, you're right, there are some bits. I think part of it is because some of the narrative hits home more than perhaps it did at the time. So at the time it probably felt quite abstract and feel like it was like that was going to happen.

Speaker 3: 17:13

I mean there are other things in the film that will give it a 12 rating as well. I'm pointing to one of those things. Oh right, yes.

Speaker 1: 17:19

Oh yeah, I mean the plot of the film I should have mentioned earlier follows Bond. For anyone who hasn't seen it, I don't know why you're listening to this it follows Bond as the attempts to intercept Elliot Carver, play by Jonathan Price, the power mad media mogul from engineering world events to initiate World War Three. I mean there are elements in what goes on that we've seen in Bond films previous. You know the the destroying of a military ship in order to steal in warheads, etc. Etc. But still, I mean the way that he goes about his business. It was, it's quite, it was quite hard for me to stomach Bond while we're on cast. Let's, let's stick with it. So Samantha Bond returns as Money Penny again, my favorite Money Penny of them all. I just I love her so much. And obviously Judy Denchers, colin Salmon a very young Colin Salmon is what's his face, tanner?

Speaker 3: 18:22

I think amazing voice, isn't he? Oh yeah very.

Speaker 1: 18:25

He was really good in Resident Evil, the first one he plays.

Speaker 3: 18:28

Charles Robinson. This Charles Robinson is character.

Speaker 1: 18:33

Oh, okay. And then we've got the Bond girls. We've got Terry Hatcher as Paris, and what's her face from Crouching?

Speaker 3: 18:41

Michelle Yeo, michelle Yeo. What's her face, is it?

Speaker 1: 18:47

Waylin.

Speaker 3: 18:48

Yes, Waylin.

Speaker 1: 18:49

I got it right. That's the Chinese, which she's a Chinese agent, do you not?

Speaker 3: 18:55

think that at the time calling her, giving her the name of Adam's in distress, as in Wayling for help, there's a little bit derogatory for her character who, because her characters, have proper kick off strong female characters in this film, which she was written as a strong kick off female she was always intended to be.

Speaker 1: 19:13

Well, I call it Wayling then. I don't know, I think you're maybe reading too much into it. Yeah, maybe I am. Maybe I am. So let's talk about the Bond girls, because John wrote a sort of digital note and emailed it to us in our discord or messaged it. I don't know what you do in a discord. I sound really old. We talk, we talk a lot in there. It's nice. It helps me to stay connected to my friends. I don't get to see them the first. Very often I'm getting sentimental now. So yeah, so, john, let's start with you. So Terry Hatcher doesn't do it for you.

Speaker 3: 19:47

It's really weird because I spent many, many years of my youth absolutely lusting over her in the eventually Lewis and Clark.

Speaker 1: 19:54

Yes.

Speaker 3: 19:55

Yeah, which we've all seen. And, dear listeners, we are a men of a certain age. This is like a box you tick when you, when you reach a certain age. We all were in love with Terry Hatcher but she didn't do anything for me in this film whatsoever. I don't know what it is, I don't know why. I mean I'm looking at the Bobby Sheldra poster up behind him because we've all got tomorrow never dies themes and she's a fine looking woman, but I just didn't get any kind of sex appeal from her at all.

Speaker 3: 20:24

And I know, you know, we're three men talking about Bond podcast and this is very one sided, discreet, you know point of view. But obviously the Bond girl is designed to titillate in the time it came out and part of plot and just you know, bums on seats. It's really weird. I was much, much more enamored with Michelle Yeo at the time. Just, I don't know what it is. It's just this, maybe it's just me, but I felt really bad for Terry Hatcher because she was she was lowest, wasn't she? And I wonder if it's just because of her age or her character in the film. I don't know. What do you think, chaps?

Speaker 2: 21:08

I don't think that the character helped because I think I think there was an element of like I don't know, like suppressed wife of media mogul that didn't really play very well with Terry Hatcher. I just don't think it really resonated. And then the history that was, was, was, was put in between Bond and them. Again it was felt really abstract. So I just don't think I don't think the character play was very good and I just I kind of feel like that that was a real big flaw. But because she was such a big name at the time, I think I think they kind of got her. Getting her in was a big coup at the time and I just feel like I think if they'd have worked better at the story rather than just and this is partly why if the script wasn't finished this is kind of shows, shows, the reasons for it, but yeah, so I just didn't feel like it really was really genuine enough.

Speaker 3: 22:14

Whereas about her dying.

Speaker 2: 22:17

No, no, no no kind of it really had vibes of gold finger.

Speaker 3: 22:26

Yeah, the one I can't remember name now is covered in gold and you kind of oh, oh well and it was sad, whereas, yeah, I was gutted when Felix's wife was killed his brand new wife on her wedding day. Yes, now, that again a character we hardly ever knew about, but that was so much more affecting than this and it's just strange.

Speaker 2: 22:49

Yes, yeah, there's so much more emotion behind it and I feel like that it didn't work. I mean, I just don't feel like they had chemistry either which didn't help, but I just there were lots of reasons why it didn't. It didn't work, but I don't know what they could have done. I mean, I've just felt like the maybe the story being half baked just didn't help them at all. Maybe that would have made her a better character if they'd have had time to finesse that. Instead instead it just felt half baked, like I said.

Speaker 1: 23:25

I mean Terry Hatcher yet come off the success of Lois and Clark. So you know, and obviously desperate housewives don't forget which I can't remember if that was after or before. It was after, was it after?

Speaker 1: 23:40

I think she's gonna be 16 next year, but anyway, she was brilliant in tango and cash. Remember she was Kurt Russell sister. No, she was a Vesta Stallone's sister in tango and cash. I love that movie. She so basically seal award, who had previously done before this, the fugitive. She auditioned for the role and the producers wanted her, but they said they wanted her 10 years younger, so she was 39. Terry Hatcher is 30. And so they they cast her in the role of Paris, but she later regretted playing that role. So quote from her she said it's such an artificial kind of character to be playing that you don't get any special satisfaction from it.

Speaker 3: 24:30

And then it was a bit didn't like the character.

Speaker 1: 24:33

No, I mean, apparently Brosnan was screen tested with Monica Bellucci, First of all, can you imagine. But the producers said no and Brosnan said they were idiots as well.

Speaker 3: 24:46

Oh there you go.

Speaker 1: 24:47

So so yeah, and then, and then Terry Hatcher was three months pregnant when shooting started and she was late to set once or twice and Brosnan wasn't happy about that because he obviously was very passionate about the whole project and everything and so apparently he was quite rude to her and then he had to apologize later when he found out that she was actually pregnant and that was the reason why she was late sometimes to her. You know, set call and stuff. So yeah, so I think probably a lot of those things have added to some of the things that you guys are feeling about it.

Speaker 1: 25:25

But, michelle Yeo, as way, I mean flipping hell, they wanted someone they wanted someone who was as tough as Bond and was kind of like the flip side to him, and she was that and much more. She's do you know what? I think she's kind of up there in kick ass bond women. I think she goes my top three now her and. Diane her Diane, diana Brig and Anna D'Armas.

Speaker 3: 25:54

Oh, anna D'Armas. Oh, my God, thank you. Yeah, she's not.

Speaker 1: 26:00

She's not in no time to die for very long.

Speaker 3: 26:02

No, we'll have to wait for that one, because we haven't got to that yet.

Speaker 1: 26:06

Next July, people know, I think it's my time to go.

Speaker 3: 26:09

Anna D'Armas makes my tummy go. Oh my God there you go.

Speaker 1: 26:14

But yeah, michelle Yeo was fantastic. Yeah, absolutely brilliant. She wanted to do her own stunts, but the director said no because he was obviously worried about her safety. But there was a problem with insurance as well, which is why Tom Cruise ended up starting his own production company, and the rest is history. So, yeah, there we go. Natasha Henstridge, who we'll know as sci-fi geeks from species. She was apparently cast in the lead Bond role, but eventually it went to you instead. So there we go, and Brosnan was very impressed with her, describe her as a wonderful actress, serious and committed about her work.

Speaker 3: 27:03

So all was good. I'm a big Michelle Yeoh fan, just so you know. I first saw her in Crouching Tiger, hidden Dragon, which I love that film so much and I've always been following her since, so I'm a big fan of her stuff yeah that's brilliant Stunts.

Speaker 1: 27:25

Vic Armstrong leads the second unit and Vic Armstrong is a long established. All of the Bond franchise and that stunt team they outdid themselves on this movie. I mean, you had the Halo Jump, you had the motorbike jump over the helicopter, you know. There was all the stunt driving that went on as well. The French guy I can't remember his name, but he's the one that rode the motorbike. But yeah, the stunts and the action sequences in this film for me are among the best in the entire series.

Speaker 3: 28:05

I mean the helicopter scene in Vietnam. I think it was in Vietnam. I mean, that's a precursor to Mission Impossible movies. It felt very Mission Impossible, but in 1997. And it's hard to forget how much of an influence Bond has had on other films and it's stunts scenes.

Speaker 1: 28:29

So I was watching the FX reel, the SFX reel for this movie. So it actually was set in Vietnam, that scene, but it was actually filmed in Bangkok. Because they couldn't get permission to film in Vietnam, the Vietnamese president or prime minister or whatever rescinded the original invitation for them to be able to film. There Would have been the first Western film filmed in Vietnam as well, but I was watching the SFX reel for this movie and it's kind of the first Bond film to sort of use a fair, reasonable amount of green screen.

Speaker 1: 29:03

So the bits where they were diving underwater towards the Devonshire wreck. That was all green screen, two separate and then composited over each other. The Elliot Carver building was green screen, so you know the poster down the side of it.

Speaker 3: 29:19

That was CGI, because the one where they fall down together, where they slip through the paper and then it runs through. So that was CGI, yeah.

Speaker 1: 29:26

Wow, that was CGI. The helicopter blades were put in afterwards, so that was CGI. Yeah, that makes sense. Yeah, there was so many other little green screen elements in this film and I was getting kind of teary-eyed because I was watching the SFX reel and Carolina was sort of looking at me and she's like why are you getting so emotional over a behind the scenes thing? And the reason why I was getting so emotional is in 1997 I just started working for a technology company I can Wembley, near Brent Cross, and our Eon Productions called and the other salespeople palmed it off to me as the youngest person Because they were just like they're only ever by like a couple of computers.

Speaker 1: 30:12

They all wanted big, big accounts that bought multiple machines. And so I sat on the phone with this lady from Eon and she said we're just planning ahead to a future movie and we need to build a few computers, but we need the most powerful everything that you can throw at it. And so I was like, okay, cool, you know, at that time I think it was Pentium 3, maybe 4s had just come out at that time.

Speaker 1: 30:45

And there was Xeons were available, boom, boom, boom, yep. So I specked up some pretty serious machinery for them and they basically became my account, and it was all my computers that were used to do the SFX for the next movie that we're reviewing. The world is not enough. This, this movie, was the beginning of that. It was like the precursor. Hold on.

Speaker 3: 31:12

Hold on. If the world is not enough, the one with the snowballing scene, christmas yeah.

Speaker 2: 31:18

Yeah, it is.

Speaker 3: 31:19

It's your fault. The next film has the shonkiest CGI of all the Bond films.

Speaker 2: 31:25

I was gonna say it's not my fault.

Speaker 3: 31:27

It is.

Speaker 2: 31:27

It's your fault, that's also the invisible Aston, isn't it?

Speaker 3: 31:31

It's his fault.

Speaker 2: 31:33

Yeah.

Speaker 1: 31:33

Yeah, it's all your fault. No, invisible Aston is the one after.

Speaker 2: 31:38

Were you still.

Speaker 1: 31:39

Was that still?

Speaker 2: 31:40

your account.

Speaker 3: 31:40

Then yeah, I reckon they were using your computers again for the next movie. No. I'd left by then to send to embark on my tailoring career.

Speaker 1: 31:50

There we go, you know what, when this already gets an explicit rating? But fuck you and fuck you.

Speaker 2: 31:56

I love you, but fuck you very much.

Speaker 1: 31:59

Listen, okay, if Q makes the gadgets right, if Bond doesn't know how to use them, it's not his fault, is it? See Same thing.

Speaker 2: 32:13

Same thing. It's user manual. If his user manual was good, then you'd do a better job, wouldn't you?

Speaker 1: 32:20

So how would you manual? No one ever reads the manual, alex Right, speaking of Q, gadgets and technology, now go on Q, alex. I just want to say, though, I love the relationship and the interplay between Brosnan and Llewellyn that started in GoldenEye. I just it's almost, it's like I know it's the age as well, because it swung around, because you know Llewellyn was quite young when he was with Connery and they were probably a similar sort of age, whereas you know he's like a father figure to Brosnan. But I just love the interplay between them. And we see Q pop up in Hamburg when Bond goes out there, isn't he in an 8th Jackie?

Speaker 3: 33:08

or something.

Speaker 2: 33:10

He works Travis now.

Speaker 1: 33:12

Yeah, he works with. Travis. So he's there to give Bond his new car and I just so. First of all, we're going to skip a bit to close. But Brosnan dressed by Breone, again Looking good. He looks so good, that cashmere double breasted coat it's got.

Speaker 3: 33:33

Like a silk brown tie it's got a waistcoat. I see the cuff length showing out the jacket as well.

Speaker 1: 33:40

I am recreating that outfit for myself, ready for January. That is what I'm going to be wearing next month. I have decided because I always wanted it, but obviously I wasn't in the right, I wasn't in the world, the income bracket or the rest of it. I didn't actually make that shit. When I was watching it on Sunday night, I thought to myself do you know what? That's my next project for myself? I'm finally going to make that coat for myself.

Speaker 3: 34:05

I think we understand each other. Q Grow up 007.

Speaker 1: 34:09

But yeah, it's the way Brosnan looks at him when he's talking to the Avis woman and he's signing with, and then Q pops up next to him and it's the way he sort of just looks at him and looks at his red jacket. But then we get the introduction to his new car, the BMW 750i, and even though looks wise, it's one of the most bland cars in the entire Bond series. It's my favourite, Alex over to you.

Speaker 2: 34:38

Well, I think it's the main feature, isn't it? The main feature is that you can drive it from your mobile phone, and I think that's what makes it so cool. There are a few other bits that were ahead of its time, like the assistant, the taser, that's it. Well, yeah, exactly. And the fact that the Ericsson phone just happens to have a taser in it 2,000 volt, sorry, 20,000 volt taser in it. The battery that's being must be amazing.

Speaker 3: 35:10

It's got some very big capacitors, Alex was Sony involved in the making of this film?

Speaker 1: 35:19

Yeah, Well, Sony didn't own.

Speaker 3: 35:22

Ericsson at that time.

Speaker 2: 35:23

But this is so. They didn't own Ericsson. Oh no, they did so Sony Ericsson.

Speaker 3: 35:30

No, no, no Sony Ericsson. But I'm saying, were Sony involved in the making the film? Because I don't know the later Bond films, the Sony films aren't they?

Speaker 1: 35:40

No, this wasn't Sony, this was still MGM.

Speaker 3: 35:43

I'm sure I've seen Bond with the Elvio laptops in later films.

Speaker 2: 35:47

No, but they had a deal. They had a deal. They had a deal that was kissing a rowel yeah, that's it yeah later times. But yeah, I think this may be the first Ericsson phone that was on that Bond's hand.

Speaker 1: 36:01

No, you two, you're so wrong. No, no, it was in 2011, 2012, that Sony acquired Ericsson, so Ericsson was still Ericsson at that time. It wasn't Sony Ericsson.

Speaker 2: 36:18

Ah, my source was all very hard.

Speaker 3: 36:19

Sony's you know you're right, sony's? Yeah, because I'm looking at a shot from the film showing the scanner where it scans. You can scan a fingerprint.

Speaker 2: 36:28

Oh, it does show Ericsson.

Speaker 3: 36:30

It wasn't bad Ericsson with the Ericsson 3, 3 slanted dash logo. There's no Sony Ericsson there. You're right, bobby. Sorry, I mean you're the tech guy that sold computers to them in the first place.

Speaker 1: 36:39

So it makes sense, yeah exactly, and also I had do you remember the film the Razor with Arnold Schwarzenegger and James Khan? You know the Ericsson phone that he has in that film. Arnie, I had that phone. I mean to be honest, at one point or another I've owned pretty much every mobile phone of note that's existed in the last 30 years.

Speaker 3: 36:58

I bet you had the major clip phone, didn't you? They're not the years of the phone.

Speaker 2: 37:01

Yeah, of course they did. Yeah, I think a lot of people had that one. I feel like this particular one with the way that it opened out, it had really vibes of the Nokia communicator. Which I had next year, but that's actually a bit. The communicator was around that time but not actually at that time. It was 98. I think it was.

Speaker 1: 37:27

So Gadget Roll call on the car.

Speaker 3: 37:32

There's quite a lot, isn't it?

Speaker 2: 37:35

Yeah, quite a bit.

Speaker 1: 37:37

We've got, let's go one each in order. So I'll start with so we've got the phone obviously for it, that remote controls it.

Speaker 2: 37:45

Alex.

Speaker 1: 37:45

Yeah.

Speaker 2: 37:47

We've got. Oh God, where's my list gone?

Speaker 3: 37:53

Yeah.

Speaker 1: 37:55

John, come on, let's keep this moving.

Speaker 2: 37:57

They were rockets they're still missiles.

Speaker 3: 37:59

Caltraps. They dropped out and did the tires, didn't they?

Speaker 1: 38:01

Yeah, self-inflating tires.

Speaker 3: 38:05

Yeah, oh yeah.

Speaker 1: 38:07

Yeah, it had the rocket launcher, the missiles coming out of the summary.

Speaker 2: 38:10

Stingers, that's right.

Speaker 3: 38:12

It had an electrocution bodywork because they're trying to bang it with a hammer with a sledgehammer, weren't they?

Speaker 2: 38:16

We had the table cutter.

Speaker 1: 38:20

Oh yeah, that came out of the BMW badge.

Speaker 3: 38:25

Yeah, exactly the right level, that the wire is in front of them, obviously. It had gas emission wheel arches because they got close to it and it went pshh.

Speaker 2: 38:34

Yeah, and it was electrical. It electrocuted you, like the security system electrocuted you as well, didn't it?

Speaker 3: 38:42

Yeah, well, at the time, right, they've been a big thing about having a GPS tracking system, because in those days no cars had those, so it had that as well. Yeah, and it had machine guns as well. Forward firing machine guns, yes, and an English-speaking, albeit German accent, computer voice that regularly reminds absent-minded spies to fasten their safety belts.

Speaker 2: 39:07

Have we missed anything.

Speaker 1: 39:08

Robbie, I don't think so. I think we got there in the end.

Speaker 1: 39:13

Yeah, now talking about this car, I know there are other things that we can talk about in this movie, like the ship with the drill thing and all the rest of it. But so what? Because this car was the most memorable thing and that chase sequence is one of my favorite of all time, not just because it takes place in a car park that I'm in pretty much every single day, because that's where my weight trace is, in Brent Cross, right here in Brent Cross. I at the time had a Fiesta 1.4 Gear X and I would go to HMV in Brent Cross and I would charge around that car park with the Tomorrow Never Die soundtrack, literally swinging that little thing around like I was in a Bond movie. And that brings me on to the music for this film. David Arnold genius Was this his first film.

Speaker 1: 40:16

His first Bond. They wanted John Barry to come back, but John Barry couldn't. I can't remember what his commitments were, but he recommended David Arnold. David Arnold I think it was the year before had released an album called Shaken and Sturd. Shaken and Sturd Do you remember him? I had it. Yeah, different artists and he reimagined all of the Bond songs and John Barry recommended him to the producers off the back of hearing his work on putting that album together.

Speaker 1: 40:54

On this film, he also worked with the propeller heads for Backseat Driver, which is the section of music for the car chasing, and for me this is, note for note, one of, if not the best score to, any Bond movie ever.

Speaker 1: 41:15

I know pretty much every freaking note of this soundtrack and that Backseat Driver is my favorite section of music from any Bond film outside of the original Monty Norman theme. It is brilliant the thing with David Arnold. He came into this as a Bond fan and where most composers get the rough edit of the film to compose to about two weeks before the film comes out, and so they do it in a rush. David Arnold went in saying you know, I need. He needed to be respectful to what had gone on before, but he also needed to put a little modern twist on things. But also he wanted to be mindful that there are elements in the Bond film and elements to the music that as a fan you kind of expect to happen in certain places and if it doesn't you're disappointed. So if you remember in previous reviews that we've done of previous films where I've been so disappointed when the Bond theme.

Speaker 3: 42:18

There was a more film wasn't there. It was all like twangy, funky guitar and we all hated it. Which one was it?

Speaker 1: 42:23

Yeah, it was um yeah, live and Let Die where I was.

Speaker 2: 42:27

yeah, when I said New Orleans, wasn't it?

Speaker 1: 42:30

Yeah, it was where the car does the jump and it's again at the time like one of the greatest stunts in movie history up to that point, and they did that. That, instead of the Bond theme, is what should have played there as he makes his escape. So David Arnold was really, really conscious of this. He took six months to score this film. He got them sending any footage that he could get his hands on as early as possible, and you can tell when you watch this film, and particularly if you watch that car chase again, listening with what I'm telling you in mind, and you can tell how passionate I am about this. I know every single note of that section of music, that four and a half minutes or whatever, you can tell that this soundtrack has been scored to the movie, to what is going on on screen. It's almost like.

Speaker 3: 43:33

Bobby, it's almost like I went and saw the Empire Strikes Back at the Elbert Theatre played live, and they had the conductor had an iPad with him and the iPad had the sheet music but it had this special sort of graphic that went across it so that they could match the music to scenes in the film. It's almost like David Arnold had that live when he was scoring it to the beat and to the scenes, and that's devotion to a cause, isn't it?

Speaker 1: 44:00

Yeah, absolutely. I mean, when you listen back to that passage of music, you literally can see what's going on on screen in your mind. You know what is going on at that bit where he holds the music, when they launch the rocket at him and he ducks and the rocket goes through the car, through the car, he goes into the cars behind and then he carries on and then you get that little hint of the James Bond theme as the tires D-D-D spights the tires and then go back up and then it kicks in with the guitars just as he breaks the cable and you get the goosebumps and a bucky neck, oh you do.

Speaker 1: 44:40

It's just, and you punch the air and it's like yes, yes, yes, and that, oh my.

Speaker 3: 44:45

God On the Shaken and Sturred album because there's one of the tracks I listen to regularly still, because I like a lot of LTJ Buchem, because he's kind of old 90s liquid drum and bass and he did the James Bond theme like a sort of slightly chilled drum and bass version. Some of these collaborations that Dave Vilem did on the Shaken and Sturred track, like Lethfield and Space March, Chrissy Hynde did Live and Let Die Pulp did All Time High and then you've got Iggy Pop doing we have All Time in the World. If you haven't listened to the album, go back and listen to it. It's brilliant, it's really good yeah.

Speaker 1: 45:22

I see David Arnold made.

Speaker 3: 45:23

Bond cool again, basically.

Speaker 1: 45:25

Oh, he absolutely did. But I mean, you listen, I hope you guys can hear that round the things.

Speaker 3: 45:35

I think your condense is drowning it out on the Fred Bobby.

Speaker 1: 45:39

Is that any?

Speaker 3: 45:41

better. No, I'm going to give it in to the album.

Speaker 2: 45:46

You've got the magic of Zee cancelling it out.

Speaker 1: 45:48

Oh really, yeah, that's a good thing.

Speaker 2: 45:51

No, it's just trying to help. Like this music in the background.

Speaker 1: 45:56

It's the way he holds it. It's like how many albums? Oh my God, it's so good. How many box films, how many box films. I'd want to watch with the Royal Philharmonic Orchestra live. Yeah, that'll be good. He did so. He did this one. He did the World Is Not Enough. Did he do Die Another Day? I had so much contempt for that film at the time. Let's have a look. This was his first, wasn't it?

Speaker 3: 46:33

He did Conte and Solace Okay. He did Conte and Solace, he did Hot Fuzz.

Speaker 2: 46:41

He did Casino Royale.

Speaker 3: 46:42

He did Casino Royale, he did Die Another Day.

Speaker 2: 46:47

We did.

Speaker 3: 46:48

Yeah, he did Musketeer. He did the soundtrack to the new Shaft film in 2000. He did the World Is Not Enough. He did the soundtrack to a film I watched this week, which is the original 2014,. Was it? I might be wrong, no the 1998 Roland Emmerich Godzilla soundtrack, with Dave Arnold as well with Matthew Broderick. He did Independence Day. He did the Stargate film as well. He's done some amazing films.

Speaker 1: 47:21

Yeah.

Speaker 3: 47:22

And I also. I'm just looking at his filmography.

Speaker 1: 47:25

I didn't realise yeah.

Speaker 3: 47:26

Wow, I mean, if Björk as well, I love as well, which sounds like a Bond track, which is why I like it so much. If Björk did a Bond track, she did one with David Arnold. It was really good. Okay, you're going to have to find somewhere getting clear and some playing the soundtrack over that sequence where you try to play your phone. Bobby, that's what you need to do, yeah.

Speaker 1: 47:47

No, exactly. No, I will. I will, I just. And then Cheryl Crowe. I was such a massive fan of Cheryl Crowe, I've got pretty much all of her albums. Tuesday Night Music Club is one of my favourite albums ever Country albums anyway and she took a lot of flak, although her song was actually nominated for a Golden Globe, I think. But it lost to that bloody Celine Dion thing from Bloody Titanic. What's up with John? He's disappeared now. He keeps vanishing. He keeps flipping in and out of the matrix.

Speaker 3: 48:25

I'm just topping up on the old Glenn Filick. Sorry, oh my God, I'll call it. I have to say my wife Becca loved the Cheryl Crow track because she's a big Cheryl Crow fan. She liked it. I have to be honest. It's fine. Nothing wrong with it. It's accomplished, but it did nothing. For me it's not one of the most memorable Bond tracks of them all.

Speaker 1: 48:48

It's not. It's nothing wrong with it.

Speaker 3: 48:50

It's not offensive, it's not problematic at all. To me it's just fine. It doesn't sit in my memory at all.

Speaker 1: 48:59

You've got two main songs for this film because originally, because David Ronald wrote Surrender, which was sung by Kady Lang, and that's used at the end of the film. Over the end credits Surrender's. Actually, if you listen to the lyrics, I'm pretty sure it's written from the point of view of Elliot Carver, from the Villain. Cheryl Crow's song is written from the point of view, I like to think, of Paris Carver because she's singing about Bond. They had asked a whole host of artists, including Pulp Pulp, actually have a song called Tomorrow Never Lies, which was the song they originally recorded for this and wasn't used in the end. I think that was used on a B-side for one of their big hits. It also appears on one of their famous albums. Obviously not a massive Pulp fan, as you can tell.

Speaker 3: 49:56

I met Jarvis once.

Speaker 1: 49:59

I met him in HMV in Oxford Street.

Speaker 3: 50:02

I lived in Nether Edge in Sheffield and I lived above the off-license. He used to go to his mother's bottle of gin each week. I was downstairs in the off-license and he used to buy gin for his mother. I chatted to him for a bit Nice chat. He owns a pub on the corner of Sheffield. At the time he owned a pub. The whole band owned and ran a pub in Sheffield but it was a bit stabby so they sold it. There you go, you've got the whole of Pulp owning a pub.

Speaker 1: 50:30

Then you've got Blur Making Cheese and Gorillaz there's something there.

Speaker 3: 50:38

I don't know where I'm going with that.

Speaker 2: 50:40

This wine is really strong.

Speaker 1: 50:41

It's a 2009 Magister, which I've had this bottle for a long, long time and I've been saving it for a special occasion. I think something's happened to it, as it's been maturing there the last 14 years. It's making me giddy, is it, Bobby? It is making me giddy. Talking about the soundtracks just made me giddy. I love this score so much, guys. It's awesome. I want to hear it with a live orchestra.

Speaker 2: 51:15

Yeah, that'd be good. Can I wake you up with some more tech that we forgot? Oh okay, yeah, fine, there was quite a bit. The other thing I forgot was that there was a lockpick in the phone. There was also a fingerprint scanner in the phone, which he then turned the phone around and then that got him in, which is not how fingerprint scanners work. Well, he scanned a fingerprint on the scanner.

Speaker 2: 51:48

He scanned a fingerprint residue off of the actual scanner and then turned it around to show the lock that. Oh no, it's definitely me, Would he?

Speaker 3: 52:01

just be shining the light of the fingerprint through the real fingerprint, through the scanner. Wouldn't the lock then open automatically every time because it's got the stick, the fingerprint, or it's stuck to it? He just you know what I'm saying.

Speaker 2: 52:14

Yeah, it's optical. It doesn't work that way, but you could have just put something on top of it and it should have worked. Anyway, that wasn't the bit that excited me. It was the bit where he had the GPS, gps I can't remember what it was called the keys for the GPS. That skews everything off.

Speaker 1: 52:39

Oh, the satellite thing, that's right, the thing that skews the satellite.

Speaker 3: 52:43

That's it, the GPS breadbox thing. Yeah, exactly. What about all the?

Speaker 1: 52:48

never mind that. What about all of Wei Lin's gadgets in her little secret?

Speaker 2: 52:52

This is my point. A lot of the gadgets are actually all in China. Yeah, the Chinese made, including the Chinese made with the PPK, which I thought was quite interesting. And then there was throwing stars.

Speaker 1: 53:06

There was like there was a whole load of stuff.

Speaker 2: 53:09

The dragon there was earrings that were lockpicks. There was loads of stuff.

Speaker 3: 53:17

Can I just point out an error that really wound me up. If you're worried about the fingerprint scanner, so right near the beginning at the arms bizarre up in the mountains, when Bond's saving the day with removing the flame with the Nukinette, so they had the. Was it the British army? Was it American? Someone was shooting a nuke at the bizarre to get rid of, to kill all the arms doers in one go.

Speaker 2: 53:39

Yeah, it was the Brits, oh right.

Speaker 3: 53:41

The Brits and for some reason their missile went wrong and they couldn't abort it. They couldn't press the abort button, wouldn't work, and they were saying there's an error, a transmission error. Okay, so they couldn't. They couldn't send, like the radio frequency from the button to the missile. However, they could still stream video from the camera on the front of the missile back to the in 1997. They can't transmit radio through a single button for a single pulse, but they could transmit video back to show you it. You know, flying through the valleys towards Bond, and that really bugged me, because just you can just send a signal to the video transmission.

Speaker 1: 54:18

How did they do that back then? Because it's like I'm on a zoom call with you with 500 gigabit broadband, but when I lose your video, but I can still hear your voice, yes, and you can still text me. But back then it was the other way around. They had, so they had so much bandwidth for video, but absolutely nothing for a simple signal, just to stop a missile from doing whatever it was doing.

Speaker 2: 54:42

Crazy, isn't it? Yeah, they also encoded a lot, so back in the day they would have encoded for a lot of loss. So they would have had a lot of like extra bits that basically mean that if they didn't get through, it wouldn't. Well, it's not just space, but like lots of error correction and like, so that way if you, if you didn't get everything, you'd be able to work it out based on, based on bit of maths. It's like error, error checks. But the thing is now nowadays everything's packet based, so basically everything gets sent and if you lose a packet then you just go and ask for the packet again, which is something you wouldn't do in this case, but anyway, so can we talk about the CGI Newdew ladies at the beginning as well, with a printed circuit board on their bodies.

Speaker 1: 55:31

Yeah, sure, that was really cool.

Speaker 3: 55:32

That's true, that was cool, I mean for 1997, that was like lawn mower man quality graphics, wasn't it it?

Speaker 1: 55:38

was amazing. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no no no, no, no, no, no, no, no, no, no, no. Stop seeing that entire thing. That looks nice up.

Speaker 3: 56:00

Max headroom wasn't it Max headroom, very, very max headroom.

Speaker 2: 56:05

Anyway, so there we go. I've refreshed you from your music funk that you had, I mean.

Speaker 1: 56:13

I can, careful I can go back into music funk.

Speaker 3: 56:16

Let's talk about the drill torpedo because I thought that was hilarious. I thought that was very video gaming, like Bullet Bill from Mario Kart. This torpedo they shoot out and somehow it can make enough purchase on the side of a ship to drill a hole in right and then it can kind of wander around like a platform with all the corridors. Let's go in that room, oh, the joystick Come in there being washed away.

Speaker 1: 56:37

Let's go in that room, oh there being washed away too.

Speaker 2: 56:39

Just show it to them.

Speaker 3: 56:40

Sorry to interrupt you, she's got my missile, off we go.

Speaker 1: 56:43

Just for our younger listeners John referring to this drill making purchase on the side of a chip, a ship. It wasn't buying anything in the ship, give shot, it was clamping onto it. That's what he means. It's an old fashioned word from back in the middle ages, where John comes from.

Speaker 3: 57:00

The torpedo was able to a light near the ship.

Speaker 2: 57:04

Even Carolina said actually she said.

Speaker 1: 57:06

She said that's a bit much, isn't it the fact that he can control it?

Speaker 2: 57:09

and literally, you know, like worms or whatever, do a right angle.

Speaker 3: 57:13

Yeah, yeah, yeah. 2d game. Is it 2 and a half? Is it a 3D game?

Speaker 1: 57:18

You know, he noticed a very young blink in your mistic camera. Yeah, I was like straight away I was like is that a young Gerard Butler?

Speaker 3: 57:28

I shouted out this is Sparta. When he came on the screen.

Speaker 1: 57:35

Sparta, we drink iron brew.

Speaker 3: 57:39

So Bobby and John are drinking, alex is not. Can you see the difference here, folks?

Speaker 2: 57:45

Yeah, Sorry guys.

Speaker 3: 57:46

Oh hold on Alex, oh hang on. What are you drinking? It's got Guinness.

Speaker 2: 57:49

It's got Guinness Diet Coke. You should have just said Guinness we wouldn't have been able to tell Okay cool.

Speaker 1: 57:57

Is there anything else either of you would like to specifically mention or talk about this movie before we? Move on to ratings.

Speaker 2: 58:05

So how? Oh go on yeah.

Speaker 1: 58:09

Mr Stamper.

Speaker 3: 58:10

I think there's three people I want to talk about Mr Stamper, gupta and obviously, come on, guys, dr Kaufman. How can you not talk about Dr Kaufman?

Speaker 1: 58:19

Oh, they're all assholes. He was funny, though, Dr.

Speaker 3: 58:21

Kaufman. He was hilarious. Now, I recognized him straight away, but I couldn't figure out what film I'd seen him in.

Speaker 1: 58:30

I think it might have been Total Recall.

Speaker 3: 58:32

Was it Total Recall no no, no, no, no.

Speaker 1: 58:34

Last action hero. That's it, that's it.

Speaker 3: 58:36

Last action hero.

Speaker 2: 58:38

That's it.

Speaker 3: 58:39

He's a really interesting guy because the whole scene in the hotel room with Dr Kaufman, I felt like he was going to be like Sir Ben Kingsley in Shang-Chi. I thought he was an actor sitting in like he had his speech being fell into his headphones from a car or a stamp or something like that. I really thought he was an actor. He wasn't really an assassin. He was an assassin. He was just a bit shit, but he was hilarious. I love that scene and Bond's just toying with it, isn't he Completely. There's a lot of scenes of Bond in hotels in this film.

Speaker 1: 59:17

Yeah, oh well, that brings us neatly Nice segue, Jon, to the shagometer which Jon's been desperate to enlighten us with Right.

Speaker 3: 59:27

Jon, what did you find out?

Speaker 1: 59:29

We're over to our Intrepid Sex Reporters with Jon Evans.

Speaker 3: 59:32

Shagometer, I think you're going to have to help me here, chaps, and see if you agree with me.

Speaker 1: 59:38

I think there's only two.

Speaker 3: 59:40

I gave it a Bond shag count of three. Now here's my rationale. There's the Danish lady, the cunning linguist. There's obviously Paris Yep, last ever, unfortunately, and I'm pretty sure at the end that he did the dirty with Whaleline as well.

Speaker 1: 59:59

Yeah, but it doesn't kind of count because they could have just been kissing. You see, realistically, after going through all that, would you really you'd want to get on that ship and get a hot shower, Come on.

Speaker 3: 1:00:11

Yes, but hold on, hold, on, hold on. Can I just bring you back to that one particular scene in the film, one of the hottest scenes in the film, where they're in Vietnam and Bond, oh, in the shower. Oh my God.

Speaker 1: 1:00:26

Oh yeah, yeah, yeah, that was poor, it was hard, poor, poor in a Bond film.

Speaker 3: 1:00:30

It was amazing.

Speaker 1: 1:00:31

No, but then she handcuffs him to the thing. Yes, I know, but then there's handcuffs.

Speaker 3: 1:00:34

I mean, for goodness' sake, how more obvious can you get?

Speaker 1: 1:00:38

Yeah, you can tell John's getting older and he's been married a long time. The littlest things, the littlest things. Yes, John, I think too. Alex, two and a half.

Speaker 2: 1:00:49

I would give it to. I would at least give it two and a half, I think.

Speaker 1: 1:00:54

What's a half? Either you shag or you don't.

Speaker 3: 1:00:58

I think I'm just googling it now. Did Bond shag Whaleline Hold on? You didn't?

Speaker 1: 1:01:02

snog.

Speaker 3: 1:01:03

You didn't snog yourself.

Speaker 1: 1:01:04

You didn't snog some girl at school. And then someone goes oh, did you get off? Or when you'd be like no, I sort of halved it.

Speaker 2: 1:01:12

Oh yeah, but you didn't wait for the qualified. Yes, when you're at school, you just print about anything, didn't you? This is true.

Speaker 1: 1:01:24

Yeah, the American Pie thing. When Natasha Lyonne says to what's her face? Anything, a guy tells you, just divide it by three.

Speaker 3: 1:01:37

So I'm on the time2bondblog where it's going through all the different flograntidelectos between Bond and the respective ladies. And it says Whaleline, so it says sex. At the very end of the movie, floating on what looks like some debris in the middle of the South China Sea, they're both soaking wet. How James didn't make a sexual comment about that I will never know.

Speaker 1: 1:02:02

How did this relationship end?

Speaker 3: 1:02:04

The two of them lasted about a month. Too many snide remarks about capitalism and communism.

Speaker 1: 1:02:08

There, you go. So I think you'd have to go to the novelization, because that would probably expand a bit further.

Speaker 3: 1:02:17

Yeah.

Speaker 1: 1:02:17

Okay, cool, there we go. So that was our shagometer. Thank you, john. John will be back next month with more Bons and whatever. Oh, there's some good ones in the next film.

Speaker 1: 1:02:27

Sophie, mastow and Denise. What's her face, john? Ratings and conclusions. Alex, what would you give Tomorrow Never Dies out of 10? Now, john and I before you got here and then John disappeared, and then you got here and then John came back and then disappeared again, and all of that we were saying that there is the potential for a bit of a shock here, and we've had some shocks previously mean Raker, for example but out of 10, go.

Speaker 2: 1:02:59

So I am going to shock you, but not in the way you think and not from the phone, that's for sure. I'm going to rate it a six.

Speaker 1: 1:03:10

Okay.

Speaker 3: 1:03:15

It's not just.

Speaker 2: 1:03:16

I think the plot while it ticked all the boxes didn't excite me in the slightest. I didn't think about any of the possibilities, and maybe it's just that now it harks differently than it did at the time.

Speaker 3: 1:03:31

It's normal now, the plot is just normal, modern news now.

Speaker 2: 1:03:34

So you say but for me it just switched me off and I do think it's the plot and the fact that the chemistry between Bond and Terry Hatcher was so poor it really did switch me off. I really enjoyed Michelle Yeo. I really enjoyed the bits they ticked. The tech was just that age so I didn't really worry about it. But I do find any the Bond films that talk about tech more switch me off more, because when I start listening to all the techno babble I'm just going to get just talking rubbish. So can I give it a six? I just don't have a desire to watch it again. That's it.

Speaker 1: 1:04:26

It's a free world, or is it?

Speaker 3: 1:04:30

John, I'm going to give it a solid eight. I liked it a lot. It lost a point because I just didn't like Jonathan Price's character. Now I'll rephrase that I didn't like the way Jonathan Price portrayed him. He was just a bit. I think he was chewing the scenery too much in this film. And I'm giving it a losing a point because I just don't think the Cheryl Crow song was. He didn't do it for me, but everything else was excellent.

Speaker 1: 1:05:05

So when the credits started rolling I turned around to Caroline and I said how was that for you? I just realised how that sounded Very far Roger Moore isn't it. And she really enjoyed it. She thought it was a really great movie and I think for us again it's a sign of a good film.

Speaker 1: 1:05:28

For me personally is one where I'm not doing other things while the film is on and getting distracted, because I'm very easily distracted. I have seen this film. When I was younger. I'd seen this film so many times. I had it on DVD.

Speaker 1: 1:05:42

I love the soundtrack so much so, having kind of just had a few days since we saw it to just calm down, my rating is an 8.5. And it's probably largely because of the soundtrack. I went on various streaming services and Tomorrow Never Dies. The actual original soundtrack is not licensed on any streaming services and I was so desperate to listen to it. I've got it on CD. It's packed away in the storage somewhere. I need to dig it out, but I was so desperate to listen to it again, especially as I've got the Supra which, as we know, bmw parts.

Speaker 1: 1:06:28

The design of the new Supra is inspired by the GT 2000 from Urainy, live, twice, etc. Etc. 2000 GT. Sorry, I paid $8.99 on iTunes to download the bloody thing and I'm glad that I did. That soundtrack is just gold for me and the film itself for me is rewatchable Like anytime it's on. I'll leave the channel there and I'll watch it. That car chase scene in Brent Cross car park very, very dear to my heart. But also forget about the fact it was filmed just up the road. I still think it's one of the most enjoyable action car gadget-laden set pieces, with the music as well, with Brosnan's reactions when he does things with the car and he's just so pleased with himself or pleased with the car, just the whole thing. It's just sheer joy.

Speaker 3: 1:07:24

When he crashes the car into the rental store at the end of the car.

Speaker 1: 1:07:28

And the way he does it with his hands as he does the final flick off the phone. And then you know like, oh, brilliant, just absolutely brilliant. I might actually change this to a nine, but that's the thing right. So you know, big shock with Moonraker, because all three of us love that film. When previously leading up to it, we were like it's going to be a bit sure, we're not looking forward to this one, we just need to get it out of the way. But you know, it surprised us because you know we loved it, not Kung Fu as well, yeah, this one had Kung Fu.

Speaker 3: 1:08:01

I mean, Alex, you could at least raise it to a seven for that.

Speaker 1: 1:08:05

Come on, no, no, I'm not going to.

Speaker 3: 1:08:09

It's got a shuriken to the throat in his film.

Speaker 2: 1:08:12

Oh yeah, I know, but I just I can't. There's a snog on a raft.

Speaker 3: 1:08:17

Come on, come on, alex.

Speaker 1: 1:08:19

Yeah, there's some cunning, linguistics.

Speaker 3: 1:08:22

Yeah.

Speaker 1: 1:08:24

Yeah, there we go. Look, you know, we're all entitled to our opinions. We all react to things differently. That's the whole beauty of this. It would have been interesting to find out what Rich, mark and Phil thought, and I'll try and get there. Well, maybe they'll join us for the next one, but I'll at least try and collect their ratings. But, guys, thank you so. So much Pleasure. As always, it's been a nice little intimate, little intimate podcast. This evening, you know, song springs to mind Just the three of us reviewing tomorrow never dies. Just the three of us, you and I, and Alex and John.

Speaker 1: 1:09:07

And I mean it doesn't an eye and I, yeah, anyway, my singing is terrible, totally tone deaf. Thank you both. We will be back, won't we? To review the world is not enough and, yeah, really looking forward to that. Thank you all so much once again for joining us. Remember, for regular show updates, you can join us on Instagram at Tayloring Top Podcast and you can support the show at the link in the show notes. You can also help massively by reviewing us and giving a rating. That's how the algorithms work. It helps us to get served to more people and if you enjoy spending time with John and Alex, please do check out our podcast, play Pools 10. We do need to get together because it's been a little while.

Speaker 2: 1:09:57

We've got quite a lot to update on the marvels. We've got low key to talk about. We've got. We've got lots coming up. We just have to get it sorted.

Speaker 1: 1:10:07

Exactly John and I. I'm hoping to be able to see John in later this month, actually December. We're recording this to see Fury Osa in IMAX, which is the pre-called to you Mad Max Fury Road. I think Charlie's Dron's character focused there. I hope I and you take the joy. I pretty much watch anything with her in, so there we go With her and Charlie's Dron.

Speaker 1: 1:10:37

Yeah, I better sign off because Wifi's coming in. I'm about to get murdered. We will return to review. The world is not enough. Until then, take care, and we'll see you on the next 007 episode of Tataring. Talk Bye, bye, bye, bye. A bit quicker that time, thank you, I think Phil and Mark being around does make a difference to the lag. Anyway, bye, thank you, guys. Thank you.