Though the audience only ever sees two cars on-screen, the second unit used a total of eight Aston Martins, and seven Jaguars to shoot the chase. There was a lot of toing and froing in Rome." In the end, the production was able to shut down key portions of the city, including a section alongside the Tiber, looking towards St. It was a constant process to find the right location to fit the stunts. A lot of the time when we asked for permission, we would get a yes, but some of the time we'd get a no, so we would have to try and find other roads. The logistics of filming the car chase in Rome, Italy were difficult to marshal, according to stunt coordinator Gary Powell, who said: "In Rome, we saw a load of roads we liked, and sometimes the road is specific to a stunt, because it had a feature which would be really nice to jump. Pill laughed, adding: "That's a lot of radios to hand out and coordinate on a night, but it ran extremely smooth each time." We also worked very closely with the House of Commons, County Hall, and The London Eye to keep various lights on or off, or to change the color of their lights for each night shoot." Each night shoot involved a location team of nearly 200 personnel that included Marshals, security, traffic management, and police officers.
We also lit the river from 10 rooftops along the bank of the Thames, from Vauxhall Bridge to Hungerford Bridge, working with Lambeth Palace, Tate Britain, and the Royal Parks to gain permission. These lights then remained in position for five weeks. We lit under each arch of Vauxhall, Lambeth, and Westminster Bridge, 17 arches in total. This involved several weeks of preparation. Supervising locations manager Emma Pill said: "The biggest challenge, however, was to light the river at night. But I think just speaking about the action sums it up - while it does have a plot hole or two, Skyfall is well thought out, well crafted, and intentional with its narrative structure, whereas Spectre is just a lazily made mess that isn’t even entertaining and that fails in everything it was trying to do.In order to complete the London scenes involving low-flying helicopters, the production had to send out 11,000 letters to residents and businesses that fell within the fly zone. There’s a whole bunch of other reasons - Waltz is wasted as Blofeld, the whole third act makes no sense, the pacing is bad, the brothers thing is perhaps the worst plot in the history of Bond, they literally jump into a net to save the day, the score is literally just tracks reused from Skyfall. Not to mention that any tension is undercut by a) Doubling the scene with Bond having a chat to Moneypenny doing an exposition dump and b) Craig looking bored the whole time.
The only “sub narrative” is a lame joke about a slow driver. He tries to use gadgets, but none of them work, until one does. Bond is chased through Rome in a sports car. Now compare that to the car chase in SPECTRE. Little things like that add knowledge to our understanding of the character in all instances.
Moneypenny not wanting to shoot but M ordering her too. Or on the bridge before Bond gets on the train - Moneypenny is looking round trying to analyze the situation, but Bond just throws himself right onto the train. Bond not wanting to leave the fallen agent. There’s also character moments - Moneypenny swiping off the second mirror after Bond quips about her losing the mirror. Then of course Bond gettting shot unexpectedly. The tension of M listening to it all but not knowing what’s going on. Bond waiting until they’re out of the tunnel to start attacking him. Patrice uncoupling the train, so Bond using his wits to use a digger. Then the story of the fight on the train, with Moneypenny chasing. Then the story of chasing them over the rooftop. First there’s the story of them chasing Patrice. Consider Skyfall - the opening scene has SO many “mini stories” in it. By “poorly crafted”, I mean there’s no narrative.
The action is just poorly crafted in Spectre. There’s a tons of reasons, but I’ll go into specifically the action, since it shows great contrast between the two.
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