It wasn’t like jumping on board a moving train, Fukunaga said, “It would be like jumping on the moving wheels of the train before the chassis were even there,” he said. “And you’re building the engine as it’s barreling towards the point of no return.”
It wasn’t like jumping on board a moving train, Fukunaga said, “It would be like jumping on the moving wheels of the train before the chassis were even there,” he said. “And you’re building the engine as it’s barreling towards the point of no return.”
The thing about this is that every decision they've made has been about putting the parts of this train in the best hands and seeming to hit all the right notes - Cary, then Burns/Waller-Bridge, now Zimmer - who's actually working with the title singer for once!
Speaking of, insightful interview with Eilish's brother who co-wrote the song...quite the far cry from Sam Smith's 'oh I just wrote it in 30 mins and recorded a demo which is used for the final track lol'
The Billie Eilish involvement just puts into perspective how much more interested I am in her experimenting with new music, than this too long in the tooth franchise. Always thought it was tacky when studios start scrambling to awkwardly stitch together components in an attempt to gain more appeal and pile on whatever's trendy at the moment. They did the same shit with the girl from Fleabag. The result is always like a plate of a bunch of different foods that contrast each other rather than give you a specific focused taste.
By the way Hollywood kind of missed out on Farrell as a throwback Bond. Check out this still from Widows.