女孩和製作人使用分接線插上雙耳機後，漫步在紐約街頭的場景。
第一首（還是第二首）就讓我驚喜，那是在BDC時上了一堂百老滙的課，老師播的曲子：Guys and Dolls～
最後一首也讓我微笑：Casablanca的 'As Time Goes By'
音樂使人自由，自外於周遭環境，觸目所及無不隨著腳步輕盈了起來。
"They say that if you drink water from the Nile, you will always come back."
Tareq Khalifa: [the two of them are on the train] What are you thinking about?
Juliette Grant: I was thinking what I'd do on my first day living in Cairo.
Tareq Khalifa: And?
Juliette Grant: I'd open a coffee shop for women only.
Tareq Khalifa: [laughs] That's brilliant.
Infused with a delicate visual subtlety, I don’t think Bond has ever looked better. Cinematographer Roger Deakins skillfully utilizes gorgeous lighting and composition throughout the globetrotting chase, thankfully allowed to let his set-ups and slow pans exist without the hyper-cut fisticuffs we’ve been inundated with since The Bourne Identity. Watching Craig engage Ola Rapace‘s Patrice in Shanghai against a backdrop of electronic signs and neon lights through a crystal clear glass skyscraper’s façade possesses a hyper-real feel as their darkened silhouettes fight without break. Pair this with the stark Days of Heaven-esque landscape at the end when Bond, M, and Albert Finney‘s Kincade set up a last stand inside a decrepit home surrounded by nothing but open field and you have a sense of aesthetic never before seen from the franchise.
Roger Deakin's masterful cinematography as we see only Bond and Patrice's silhouettes as they fight, a large circular white light in the shape of a jellyfish passing over Bond at one point- a visual nod to the gun barrel that was absent at the beginning of the film. The most visually stunning Bond film ever- might even get an Oscar nod- is also the most exciting.
Red: [narrating] I find I'm so excited, I can barely sit still or hold a thought in my head. I think it's the excitement only a free man can feel, a free man at the start of a long journey whose conclusion is uncertain.
Red:...I have to remind myself that some birds aren't meant to be caged. Their feathers are just too bright.
Red: [narrating] It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.
"Whenever you're leaving your room, you grab the doorknob, you turn it and you're getting ready to leave but you don't, you stop and you back up and you turn to the mirror and you stare at yourself. But it's not like a, you know, "I'm so hot" kind of stare. You know, it's more like... "Who am I, really?" And to ask yourself that, I mean, that's so cool. So you look out the window all the time like I do, only you're looking at the world, you know? Tryin' to figure it out, trying to understand the world. Trying to figure out why it's not in order like your books... I'm only looking at you. "
簡單高雅的套裝，背景是巴黎街頭經典造型路牌。
就這樣拎著一個手拿包坐長程火車到另一個國度，然後一切都有旁人款好好只要入住即可也太帥氣，當Depp對Jolie說"you are the least down to earth person i've ever seen."時，到那時為止Jolie所製造出來的神秘美好印象與經歷，如果少了金錢作用，還能發揮浪漫幾分？
剛在第四台轉到"My Blueberry Nights"，雖然只看到其中一段，但那畫面跟安排我很喜歡：Jude Law跟一個女生在寒冷的冬夜中，兩人站在咖啡館外頭抽煙聊天，口中吞吐的煙到最後其實都是隨著呼吸倏忽發出的白霧，只剩下逆光的剪影。在"New York, I Love You"裡 Maggie Q 跟某男星也有這麼一段在路邊以煙攀談的情節，記得台詞還講到大都市中的陌生人透過借火如何如何。
在電影院看的是法語發音版本，但後來看冒牌經理急切以刻意腔調講法文時發現嘴形跟配音搭不起來，推測原本演員講的是俄文。
女主角演過惡棍特工，難怪看起來很面熟。很喜歡原來七零八落的樂團在女主角的小提琴聲帶領下，恢復三十年前的水準；演出結束時女主角痛哭宛如宣洩解放的模樣也令人感動。
Le Théâtre du Châtele經理竟然是Taxi終極殺陣中的男主角的伙伴之一，兩種角色落差令人發噱。
出生在哪或在什麼環境被撫養長大，對一個人後來的發展或影響很大。
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