I don’t think there’s any doubt that Daniel Craig is one of the better Bonds. He’s visceral and intense and can beat you to a pulp. His debut in Casino Royale helped bring Bond back in a huge way.
The follow up to that debut, Quantum of Solace, wasn’t as good. It was confusing, convoluted and well, I still don’t know what’s going on in that film. It just wasn’t very good, minus the action scenes. Craig now offers up an explanation: the writer’s strike. The script literally finished two hours before the strike, talk about rushed.
“On ‘Quantum,’ we were fucked,” Craig said. “We had the bare bones of a script and then there was a writers’ strike and there was nothing we could do. We couldn’t employ a writer to finish it. I say to myself, ‘Never again,’ but who knows? There was me trying to rewrite scenes – and a writer I am not.'”
Craig goes on to say that there was no other option but for him to help write scenes with director Marc Forster, and that the film wasn’t supposed to connect to Casino Royale at all. Whoops. “Me and the director [Marc Forster] were the ones allowed to do it. The rules were that you couldn’t employ anyone as a writer, but the actor and director could work on scenes together,” he said. “We were stuffed. We got away with it, but only just. It was never meant to be as much of a sequel as it was, but it ended up being a sequel, starting where the last one finished.”
Content is key for Craig, saying that that’s what attracted him to the Bond franchise in the first place. He’s even taking a larger role behind the scenes, being the one to hire Skyfall director Sam Mendes.
“I did, yes, I did,” Craig says about landing Mendes. “He’s English, he’s Cambridge-educated, he’s smart. He’s lived with Bond all his life, he grew up with Bond the way I did. We grew up at exactly the same time, and I said to him, ‘We have to do this together, we have exactly the same reference points, we both like the same Bond movies and we both like the same bits in the same Bond movies we like.’ We sat down and we just rabbited for hours about ‘Live and Let Die’ or ‘From Russia with Love,’ and talked about little scenes that we knew from them. That’s how we started talking about it. That’s what we tried to instill in the script. He’s been working his arse off to tie all these things together so they make sense – in a Bond way.” [Time Out London via The Playlist]