Beyond comfort zone 人生的初期別太任性

玻璃帷幕在霓虹燈與光電流線的照耀下，奇幻迷離的色彩投射在Bond臉上，他觀看敵人一舉一動的隨時可能被發現，
益發襯托出兩人短兵相接、緊湊打鬥的濃墨剪影，
從沒想到Bond系列電影也能拍得如此藝術唯美。

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.




打燈的頂樓深藍色泳池在燦爛夜景中，能夠在視野這麼好的地方游泳真棒！（後來一查才知道原來是在倫敦的四季飯店頂樓泳池拍攝，不是真的在上海阿，看來窗外摩登夜景是合成）

根本是Nautica香水廣告吧！？

完全可以理解神秘女子空等英雄未至的失落心情，直到淋浴時的曼妙剪影，
此時007悄悄走近，原來身著西裝的他再度走入鏡頭時已經全身赤裸，和女子吻了起來，這一段還是玩弄剪影效果。