Episode 12


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Closing out For Your Ears Only's first year, Ian and Adham approach the similarly titled For Your Eyes Only with a party spirit and copious amounts of singing. Whilst Ian meets his linguistic match during the e-mail section and Adham shouts out human body parts at the top of his voice, the hosts are able to focus on underwater delights, underage ice-skaters and impersonators of Margaret and Dennis Thatcher, whilst promoting both Dread Media and Bigger on the Inside. And also demeaning Liverpudlians. [ 2:02:31 || 56.1 MB ]

The above is from: http://www.earth-2.net/podcasts/foryourear...arsonly_012.mp3

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Gah! Because I'm a lazy shit, it'll be another month before feedback...I swear. You people need a voicemail line.

If you're referring to the promo you sent in, keep on listening. If you aren't, then yes sir, you are indeed a lazy shit!

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Is this the James Bond movie where in the final confrontation with the villain it is magically going back and forth between night and day as they cut from one shot to another?

No, not this one - the final encounter happens in daylight throughout. And now I'm really trying to remember what film/encounter you might be referring to. I watched License to Kill last night, but it wasn't that one.

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Is this the James Bond movie where in the final confrontation with the villain it is magically going back and forth between night and day as they cut from one shot to another?

No, not this one - the final encounter happens in daylight throughout. And now I'm really trying to remember what film/encounter you might be referring to. I watched License to Kill last night, but it wasn't that one.

It is a Roger Moore one. I remember this distinctly because when my dad first bought the DVDs he kept watching this part over and over since he thought it was hilarious.

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Is this the James Bond movie where in the final confrontation with the villain it is magically going back and forth between night and day as they cut from one shot to another?

No, not this one - the final encounter happens in daylight throughout. And now I'm really trying to remember what film/encounter you might be referring to. I watched License to Kill last night, but it wasn't that one.

It is a Roger Moore one. I remember this distinctly because when my dad first bought the DVDs he kept watching this part over and over since he thought it was hilarious.

Hmm, that should be easier to narrow down. Let's see...

Kananga - at night, all in a subterranean cave which Bond/Domino stay in until the scene shifts.

Scaramanga - during the day. Their duel starts during the day and Bond & Goodnight escape whilst it's still daytime.

Stromberg - daytime throughout on his lair.

Drax - trick question, it's in space!!!

And we've just covered FYEO above.

We'll look out for the remaining two villains in the next two episodes, as they're the last two involving Moore as Bond.

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According to IMDB it was this movie

http://www.imdb.com/title/tt0082398/goofs

Continuity: Rapid change from night to day when Bond attacks Kristatos' warehouse with Coulombo's men and then emerges from the tunnel.

No wonder I was confused - this wasn't the final confrontation! It was Bond's last encounter with locke, but him not being the main villain is what led to the confusion.

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I think it´s Octopussy in the final confrontation, where Kamal Khan escapes the mansion and Bond follows him jumping from the back of a horse to the back of Kamals plane. Outside the mansion, where Octopussy´s girls are "selling themselves", as stated by Gobinda, it´s night and during the escape scene it is day. While Bond is after Kamal they are switching back to some short scenes with Q and the girls in the mansion - where it´s still night...

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  • 4 weeks later...

I want to extend my thanks to the hosts for venturing to read my apparently tongue-twisting e-mail (under the name Patrick) during Episode 12; I'll try to keep the vocal acrobatics to a minimum in future, though I trust Ian doesn't begrudge a fellow enthusiast when it comes to a well-read vocabulary ;-)

I also have to admit that "For Your Eyes Only" represents probably the pinnacle of Moore's tenure as Bond, largely because it has the most believable plot of any of his Bond films, but also because his performance is unusually subdued, non-ironic, and realistic (as far as such is possible for this actor, at any rate). Not only that, but "Eyes" has to make my list of Top Five Bond films for those reasons, and also because the pure spy thriller aspect of it definitely fits a more Fleming-esque picture of the character and his brutally lurid fictional world. As far as a translation of the short stories it adapts (the title story, and "Risico"), it follows "From Russia, with Love", "Thunderball", and "Secret Service" in faithfully representing the essential plot and character components of the literary counterpart as well as anyone could expect from a screenplay (teenage crushes and parrot antics aside, that is).

And for once, I have to agree (in a rare departure) with Adham's opinion of the music this time around, as it was about time that a Bond score rocked out for once (okay, so I just happen to like early eighties disco rock anyway; so sue me)...

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  • 3 years later...

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