Neal Purvis and Robert Wade - Films

Films

Wade and Purvis' screenplay for Let Him Have It (1991) (based on the true story of a young man who gets caught up in street gangs in post war London and is later hanged because his statement "Let him have it" is misinterpreted by another gang member who shoots a policeman), displayed the writers' "outrage toward a system hell-bent on vengeance" and was called "first rate, no non-sense".

Barbara Broccoli, producer of the James Bond films, hired Wade and Purvis to write their first Bond script because she had seen their film Plunkett & Macleane (1999) and liked that it was "dark, witty, sexy and inventive". Purvis described their approach when they joined the Bond franchise as to "come in with ideas, things we've found in science magazines, on the internet, interesting weapons and what's happening in technology. Then we find a journey for Bond to go through."In their Bond collaborations, Wade generally does "all the verbiage at the beginning of the script." They created a novelisation of their Bond script for The World Is Not Enough in collaboration with Raymond Benson. Wade and Purvis also wrote a script for a Bond spin-off featuring the Die Another Day character Jinx (Halle Barry), which was attached to director Stephan Frears, but nixed by MGM for budget concerns and "creative differences".

Their 2003 Bond parody, Johnny English, while widely panned by critics and receiving a 33% "fresh" rating at the review site RottenTomatoes.com, earned $160.5 million in its global box office receipts. A sequel, Johnny English Reborn, based upon their characters but written by Hamish McColl, was released in 2011.

Purvis and Wade wrote and produced Return to Sender (also known as Convicted), which was described as a "gripping tale" of a man "fighting to prevent a miscarriage of justice". They had originally written the script while doing research for their first movie, 14 years earlier.

In 2005 they co-authored the bio-pic Stoned (also known as The Wild and Wycked World of Brian Jones) about the last days of the life of The Rolling Stones co-founder, Brian Jones, which they base on an account from a builder on the farm where Jones died, claiming that Jones' death was not accidental as recorded by the coroner. The film was criticized for "fail to convey what mattered about Jones artistically, what he contributed to music, why we should feel more than pity."

When Daniel Craig was signed on as the new Bond, Wade described their approach "When you have an actor you play to his strengths ... He's got this great toughness to him but not an unthinking toughness. I think that's where the films will need to go." Their first work for Craig as Bond, Casino Royale, was nominated for a BAFTA Award for Best Adapted Screenplay and received a Four Star review from Roger Ebert who stated that the film "has the answers to all my complaints about the forty-five-year-old James Bond series, and some I hadn't even thought of." However, their followup Quantum of Solace, which was not based on any Ian Fleming work, was criticised because while having "the right ingredients: plenty of car, plane or boat chases ... spooks, vendettas, and turncoats", it lacked the "magic, and a decent plot."

Their screenplay for Skyfall, which they co-wrote with John Logan, was described by Frank DiGiacomo of Movieline as being "very wily" for having Bond experience a mid-life crisis. In 2012, it was announced that "after a tremendous run" with the Bond franchise, Wade and Purvis would not be involved in the 24th Bond film, which would be solo written by Logan.

Read more about this topic:  Neal Purvis And Robert Wade

Famous quotes containing the word films:

    Does art reflect life? In movies, yes. Because more than any other art form, films have been a mirror held up to society’s porous face.
    Marjorie Rosen (b. 1942)

    Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
    Susan Sontag (b. 1933)

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)