alone-features Bond, chased from either end of a high bridge by villains, jumping off the span, clinging only to a cable that might or might not be moored. The film’s teaser trailer-which aired during the Super Bowl to an audience of 102 million in the U.S. I’m just so impressed by the way he motored through.” He’s like a marathon runner,” Craig says. “I think Cary’s heart beats at 40 beats a minute. Clad in slouchy black jeans, Birkenstock slip-ons and a tan pullover sweater, with his often conversation-worthy hair tucked into a maroon knit cap, Fukunaga exudes the same preternatural calm he displayed on set. “IT HAS BEEN LIKE living on adrenaline for a year and a half,” says Fukunaga, back in February, of making his inaugural action film, a 20-month endurance race run at sprinter’s pace. “The film will come out when it’s right,” he says, “and it will perform in the context of this new world, in which no one really can define what success or failure means.” Ultimately, whenever it is released, the movie’s fate is beyond Fukunaga’s control. I have friends who are losing businesses, restaurants, and other friends who have lost family members.” There are so many bigger things happening. “I think there’s always the potential of that,” Fukunaga says. When No Time to Die does finally brave a theatrical release, it will be one of the biggest and, as Daniel Craig’s final turn as Bond, arguably have the most at stake.Īnd it’s possible the movie moves again. In early October, the film was delayed once again to April 2021. Most major movies have shifted to 2021 or gone straight to video on demand or streaming. The buzz around the early trailers and the release of Billie Eilish’s title track has faded. Six months later, with the world still besieged by Covid-19, there is as much fear as fanfare surrounding the release of Fukunaga’s first Bond film. “I think they made a very smart decision to be one of the first to say out loud, ‘This is a big thing. I was at peace with it.” The decision was made by the producers and the studio executives, which suited Fukunaga just fine. “And then pretty quickly, I mentally moved on. When Fukunaga heard the news, “there were a couple of hours of F-, it’s not happening,” he says. On March 4, less than a week before Italy imposed its national lockdown, it was announced that No Time to Die was being pushed from April to November. “All of us felt like, as with a lot of filmmaking, you can’t really make plans for the future,” Fukunaga says. He soon realized Covid-19 was going to be a global tragedy and discussed the uncertainty with the film’s actors. When we first met at Goldcrest Post Production in the Soho section of London in early February, Fukunaga was already tracking the virus’s spread. “You start off by yourself and you end by yourself, despite all the craziness in the middle.” “The filmmaking process so mimics a life,” Fukunaga says. While this wasn’t the coda he had foreseen, it was fitting. Instead of a 10-day sojourn in Germany, Fukunaga, 43, took refuge at his house in a rural corner of New York’s Hudson Valley for five months. In that sense, the Covid-19 pandemic, which has changed everything, changed little. “A lot of people that do, face their demons. In a state of sensory deprivation, attendees of the retreat often talk to themselves, he says. After overseeing a massive production that spanned five countries on two continents, Fukunaga was looking forward to filling his days with meditation and creative visualization in a lightless cavern. “I mean, what else do you do, as a semi-introvert, after almost two straight years working under pressure? Obviously, live in complete darkness and isolation,” he says. Back in late February, as he raced to complete post-production on No Time to Die, Fukunaga was planning to reward himself with a darkness retreat in Germany.
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