Production
After the success of GoldenEye in reviving the Bond series, there was pressure to recreate that success in its follow-up. This pressure came from MGM and from billionaire Kirk Kerkorian, who had recently taken ownership of the studio; they wanted the release to coincide with their public stock offering. Co-producer Michael G. Wilson was also concerned about public expectations after the success of the previous film: "You realize that there's a huge audience and I guess you don't want to come out with a film that's going to somehow disappoint them." This was the first Bond film to be made after the death of Albert R. Broccoli, who had been involved with the production of the series since it began. The rush to complete the film drove the budget to $110 million. The producers were unable to convince Martin Campbell, the director of GoldenEye, to return; his agent said that "Martin just didn't want to do two Bond films in a row." Instead, Roger Spottiswoode was chosen in September 1996. Spottiswoode said he had previously offered to direct a Bond film while Timothy Dalton was still in the leading role.
Read more about this topic: Tomorrow Never Dies
Famous quotes containing the word production:
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)