James Bond screenwriters Neal Purvis and Robert Wade, who most recently collaborated on the No time to die script, admit that they frequently listen to the music of the Bourne franchise as they write. Bond producer Barbara Broccoli first hired Purvis and Wade based on the strength of their 1999 script to Plunkett and Macleane. The couple would write seven Bond scripts, starting in 1999 The world is not enough for this years No time to die. Their association oversaw the transfer of Bonds from Pierce Brosnan to the then controversial casting of Daniel Craig.
the Bourne The franchise began around the same time as the beginning of Purvis and Wade’s tenure in Bond, with Bourne’s identity debuting in 2002. The film series follows CIA amnesiac agent Jason Bourne, played by Matt Damon, as he carries out efficient assassinations and attempts to uncover his mysterious past. The franchise includes five theatrical films, four of which star Damon, and a short-lived spinoff prequel series. The most recent, Jason bourne, came out in 2016 as a direct sequel to The Bourne Ultimatum (2007).
Now, in an interview with The Guardian, Purvis and Wade admit that the Bourne music often provides a soundtrack to your Bond writing program. “We listen to Bourne’s music a lot when we write“Says Purvis. The writers also offer an anecdote about their own musical inclinations, detailing how they once performed their original James Bond theme (they wrote it as students in the late 1970s) to Bond producer Michael G. Wilson. “[Wilson] He said, ‘Don’t quit your day job‘”Purvis adds. “That I thought was a little unnecessary. “
Fans are sure to weigh in on the Bond writers’ choice of background music. On the one hand, it’s an innocent, even flattering, nod to John Powell’s impressive spy score. But it also highlights the thorny relationship between competing spy franchises. In the mid-2000s, the Bourne The series was about to surpass Bond as the world’s leading spy series. However, it could be argued that Bourne helped revive Bond, whose ’90s films became increasingly cheesy and maligned. When a new Bond appeared in 2006, it had more in common with the brutal and paranoid Jason Bourne than it did with Brosnan’s flirtatious Bond.
Purvis and Wade are more than likely well aware of the Bond-Bourne divide. Still, the duo is understandably wanting to distance themselves from their previous Bond scripts, at least while writing the next one, despite excellent scores from David Arnold, Thomas Newman, and Hans Zimmer. the Bourne the music surely creates a spy-friendly atmosphere without reminding the Bond writers of the weight of their own franchise. Other Bond musics, such as the repetitive descending theme or the pantheon of introductory songs, are almost too iconic, too earwormy, to inspire focused writing sessions. Fans wouldn’t want Purvis and Wade to be too distracted, after all, when they start working on the film’s script. No time to die Follow up.
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Source: The Guardian
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