4:51
007 Never Say Never Again Theme Song
Never Say Never again wasn't counted as a official james bond because it was made by a...
published: 27 Oct 2008
Author: plykshow
007 Never Say Never Again Theme Song
Never Say Never again wasn't counted as a official james bond because it was made by a different company. Anyway here is the theme song. Please Rate/Fav/Comment/Subscribe help spread the word www.plykshow.weebly.com
4:19
Never Say Never Again - Intro - [HD] 720p. 1983
Please view in HD! The intro to Never Say Never Again featuring Sean Connery! Located in t...
published: 15 Jan 2010
Author: piano77man77
Never Say Never Again - Intro - [HD] 720p. 1983
Please view in HD! The intro to Never Say Never Again featuring Sean Connery! Located in the Bahamas.... Music by: Michel Legrand Lyrics by: Alan and Marilyn Bergman
5:59
Never Say Never Again - Official 007-Style Opening
This is my interpretation of what the opening of Never Say Never Again might have been lik...
published: 23 Feb 2010
Author: PSPegasus
Never Say Never Again - Official 007-Style Opening
This is my interpretation of what the opening of Never Say Never Again might have been like if it had of been made by EON Films as an Official 007 title. It features music from From Russia With Love and Thunderball, the opening title sequence of Thunderball, with new credits to reflect the cast and crew of NSNA, the Dionne Warwick version of "Mr. Kiss Kiss, Bang Bang", and a new gunbarrel sequence featuring an aged (and hatless) Sean Connery.
3:44
NEVER SAY NEVER AGAIN Bike Chase
Check out my other videos: youtu.be - Oh Bother! Where Art Thou? (Winnie the Pooh/Coen Bro...
published: 28 Aug 2009
Author: Crashlander
NEVER SAY NEVER AGAIN Bike Chase
Check out my other videos: youtu.be - Oh Bother! Where Art Thou? (Winnie the Pooh/Coen Bros. mashup) *NEW!!* youtu.be - Weird Inception Science (Inception/Weird Sciene mashup) youtu.be - Return of the Jedi space battle re-edit (HD) youtu.be - Pod Race re-edit (HD)
10:54
Kim Basinger in Never Say Never Again - highlights
1983 James Bond film with Sean Connery....
published: 07 Oct 2009
Author: GSMovieMoments
Kim Basinger in Never Say Never Again - highlights
1983 James Bond film with Sean Connery.
3:07
Lani Hall - Never Say Never Again (Widescreen Stereo Mix)
James Bond - Never Say Never Again - Lani Hall - Michel Legrand...
published: 21 Jan 2012
Author: nasdarovie
Lani Hall - Never Say Never Again (Widescreen Stereo Mix)
James Bond - Never Say Never Again - Lani Hall - Michel Legrand
2:04
Never Say Never Again Trailer
trailer for never say never again in the mi6 forum....
published: 02 Mar 2007
Author: trettfilms
Never Say Never Again Trailer
trailer for never say never again in the mi6 forum.
2:35
Never Say Never Again (1983) trailer (HQ)
The theatrical trailer of the James Bond movie Never Say Never Again. I made this using Wi...
published: 01 Aug 2010
Author: DraganLalic
Never Say Never Again (1983) trailer (HQ)
The theatrical trailer of the James Bond movie Never Say Never Again. I made this using Windows Movie Maker, the movie, and the 007 theme tune.
12:09
Never Say Never Again Review
Part 17 of my Bondathon review marathon: Never Say Never Again, Sean Connery's return ...
published: 16 Apr 2012
Author: donpfeff
Never Say Never Again Review
Part 17 of my Bondathon review marathon: Never Say Never Again, Sean Connery's return to the series and his last film appearance as James Bond. This was the last unofficial James Bond, and the 16th Bond film over all. Not a classic, but historically significant and well worth checking out.
1:23
NEVER SAY NEVER AGAIN TRAILER
NEVER SAY NEVER AGAIN TRAILER...
published: 24 Jul 2009
Author: 4YOUMOVIETRAILERS
NEVER SAY NEVER AGAIN TRAILER
NEVER SAY NEVER AGAIN TRAILER
2:53
JAMES BOND: Never say never again [original music by Lani Hall]
www.alberworld.es Cabecera de "Nunca digas nunca jamás" (1983), remake de...
published: 25 Nov 2009
Author: AlberworldWeb
JAMES BOND: Never say never again [original music by Lani Hall]
www.alberworld.es Cabecera de "Nunca digas nunca jamás" (1983), remake de "Operación Trueno", también protagonizado por Sean Connery. Canción original interpretada por Lani Hall. www.alberworld.es
3:12
Never Say Never Again
The remake of the James Bond movie: Thunderball....
published: 05 Feb 2010
Author: majorartist1
Never Say Never Again
The remake of the James Bond movie: Thunderball.
1:16
Never Say Never Again Uncensored Horse Jump.mov
The infamous horse jump from the 1983 James Bond film Never Say Never Again. This slow mot...
published: 27 Mar 2012
Author: Dan Gale
Never Say Never Again Uncensored Horse Jump.mov
The infamous horse jump from the 1983 James Bond film Never Say Never Again. This slow motion stunt is always censored when the film is shown on TV or on Region 2 DVDs. This is from the US Region 1 DVD.
2:51
James Bond plays a video game
The video game from "Never Say Never Again"...
published: 07 Oct 2007
Author: VirusToxin
James Bond plays a video game
The video game from "Never Say Never Again"
Vimeo results:
4:14
Red Cafe - Heart and Soul of New York City by K1X
Red Cafe & Pete Rock
"THE HEART & SOUL OF NEW YORK CITY"
A K1X film by Kevin Couliau
Yes...
published: 30 Apr 2010
Author: K1X
Red Cafe - Heart and Soul of New York City by K1X
Red Cafe & Pete Rock
"THE HEART & SOUL OF NEW YORK CITY"
A K1X film by Kevin Couliau
Yes, it's about that time. Rain, sleet and snow have made way for the sun, long evenings and fresh sneakers. Early may, when Europe's hardwood champions have been crowned and the NBA playoffs shift into full gear, marks the inofficial start of the real basketball season: the streetball season! That's when reputations are made, nicknames are born and every ballplayer naturally gravitates towards that "thump", "thump" sound of his or her home court. Playground basketball is where it all started. Playground basketball is where talent is honed and friendships are made. It's where neighborhoods gather and where skills and sweat are a currency. That's especially true for the mecca of basketball, New York City. Nowhere else do streetball tournaments, players and games attract a quasi-religious following. Dollars, pride and bragging rights are on the line. Believe the hype!
The idea for a visual love letter to NY basketball was born when Red Cafe's unreleased track "Heart & Soul" established itself as an instant office-favorite at K1X headquarters in Munich (Germany) last spring. Niels Jager (K1X Go-To Guy): "The tune was on replay 24/7. And one day it hit us: let's build a statue for NYC streetball!" Red Cafe's ode to the city that never sleeps is a Pete Rock production that boasts all the makings of a hip hop classic. K1X, who has been active in the outfitting of several high profile NYC streetball tournaments for several years, was all the more surprised to find out that this beast of a tune was not yet a prime focus of Red Cafe's record label. Shake Down quickly agreed to let K1X shoot a poetic clip for the song, whose lyrics are a glowing personification of K1X's appreciation for street basketball: The Heart & Soul of New York City.
French streetball documentarist Kevin Couliau (Asphalt Chronicles), who spent the summer of 2009 in the five boroughs hunting down supreme blacktop action, was a natural choice to capture the raw essence of NYC and its rich streetball culture. As was the Canon 5D Mark II as Couliau's weapon of choice. Art director / director / producer Thibaut de Longeville (director of the acclaimed "Just For Kicks" sneaker culture documentary) and motion graphic designer Vincent Dumond of 360 Creative in Paris added their visual expertise to the project and took care of elegant motion graphics and bona fide post production.
The outcome of this work will celebrate its world premiere on May 1st 2010 on k1x.com. The clip features action from K1X affiliated tournaments in Harlem ("Together We Chill" and "Kingdome Classic") and the Lower East Side ("Lower Manhattan Classic") as well as a variety of other city courts and an impressive array of cameos by iconic players, opinion leading heads and a bunch of regular dudes. Bobbito Garcia, who got an early preview of the clip last winter had this to say: "It's so beautiful, man. It's snowing tonight but it made me look forward to the coming summer months again."
World Premiere: Witness "The Heart & Soul of New York City" on May 1st 2010 on k1x.com!
Credits:
Concept by Papa Neal & Fu for K1X. Track by Red Cafe & Pete Rock, Cinematography, Direction & Edit by Kevin Couliau (Asphalt Chronicles), Art Direction by Thibaut de Longeville, Motion Graphic Design by Vincent Dumond and Post Production by 360 Creative (Paris) feat. Red Cafe, "Miles High", "The Franchise", "Anti-Freeze", "Special FX", "Best Kept Secret", "Headache", "Black Diamond", "The Pirate", John Starks, Bobbito “Kool Bob Love” Garcia, KRS-1, Stay High 149...
20:10
Paris Vol. 5
Entry from July 27, 2009 "We are jet-lagged and exhausted. The alarm blared at 4:30 am. Wi...
published: 19 Sep 2010
Author: The Seventh Movement
Paris Vol. 5
Entry from July 27, 2009 "We are jet-lagged and exhausted. The alarm blared at 4:30 am. Without opening my eyes I hit the snooze. "Just five more minutes" I told myself… "Lets go dude" a groggy voice commanded from the background. I didn't move. Out of nowhere, a pillow slammed down on my head, the mattress is lifted out from under me, and I hit the hardwood floor just missing my camera bag. "Ugh not again" I thought, but I knew he was right, we needed to hustle across the city and get our cameras rolling before sunrise. "
We were in Paris with only a week to shoot. Armed with top of the line cameras, fresh batteries, memory card wallets, and our favorite glass. The game-plan was to shoot as much as possible and to motivate each other when we were exhausted from staring down the viewfinder. Time-lapses were just an afterthought. Seen a couple. Heard a bit on what it takes to get one done. But when we stepped off the plane in Paris, we had never seen the sky as beautiful as it was. Some twenty two hours later, we slept...at least tried to...
We had never shot a time-lapse before, we had never put one together. We were just two guys who came to Paris to photograph. To make beautiful images. And we did. And we didn't stop. It became a battle against our batteries. " Why take one when you can take one-thousand" we'd laugh. Sometimes staying at a spot all day. Biking or walking from place to place. Mispronouncing words we didn't know. Two more packs of Camel's gone. We shot and shot and uploaded wherever we were. Even ran through the terabyte we brought with us and had to buy another one at Rue Montgalet ( nightmare ). Fell asleep on the Alexander III bridge while the clicks of our camera shutters became an urban lullaby.
Wandering around the streets of Paris armed with $20,000 in gear, we took Paris head on.
Its a scary feeling when you burn through a 32 gigabyte card before the day is done. You don't see what you're shooting. You compose the first frame and let your subject do the rest. We would wait for that perfect set of clouds or that perfect flare or trail from a plane. And all the while we didn't know what the final product would look like. We were shooting blind. But we wouldn't have had it any other way. The unknown kept us moving. Kept us thinking about what could happen when we return. Kept us thinking about what all these different pieces might say in the end.
Changing glass as much as we did, we didn't factor in the amount of sensor dust that would build up. We could never just shoot something once, from one angle, without doing brackets and panoramic builds. It became an obsession. And our shutters paid the price. Back home, it took weeks to get organized. Then it took months working between all these side projects, our main gig at BorrowLenses.com, and the Paris project. Just beginning to think about what we would do with all the clips became overwhelming. There wasn't an obvious flow. There didn't seem to be a complete overall puzzle that could even be constructed with the pieces we had. And the pieces were in pieces.
We started building each clip in After Effects. Render. Smoke. Chill. Re-Render. Smoke. Chill. We built around 150 clips out of the time-lapses we shot in Paris. They were flickery, noisy, grainy, bandy but they were ours. And we spent more time trying to fix them than we ever imagined. They were the first of the series. And from a single Clint Mansell song from "The Wrestler" sparked a vision for the Volumes. And once we put the first ones on Vimeo, we knew we had something going. We built the second one with a Tycho song. The third from Flying Lotus. The fourth from Pelican City. And after the fourth volume was built, we saw all these comments about the sensor dust. And THAT ate away at us.
So we started from scratch; as if we had just hoped off the plane from Paris. Reorganize, re-edit, recolor, re-render. Days and days of work. Going through entire albums trying to find that one song that would go perfectly with all the clips strung together. But we didn't know how they would all hold together. There was no obvious order again. And we didn't think we could fill the twenty volume quota that we had promised to our fans. So we settled on doing a Director's Cut. A montage of all of the clips: Paris Volume 5.
Enter Pigeon Point. We had been shooting a new series called the California Coastline. And we went to Pigeon Point down in Santa Cruz with our friend Matt. At first it didn't seem like a prime spot for time-lapses. But Matt didn't tell us the most amazing thing about Pigeon Point. They installed a new temporary 6-beam setup while the main lighthouse wasn't operational. We shot through the night, edited the next day, and posted on Monday. While we were editing, Mogwai popped into the playlist. To be honest we never sat down and listened to Mogwai with our work but it turned out that Friend of the Night fit that piece like a glove. And so we chose 2 Rights Make
29:57
The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents ...
published: 10 Sep 2010
Author: Marlon Torres
The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents as both a storyteller and a filmmaker. I wanted to create a film that would challenge myself and my audience, meshing both classical and experimental storytelling techniques from music, books, & films that have inspired me in one way or another. I wanted to make a film that didn’t do any spoon-feeding, where my audience would leave with questions as well as answers. It was a long a difficult road to get to this point and there were days where I felt that I was in way over my head but eight months later, I can proudly say I’ve finally completed my film “The Bridge” and it was an experience I would never forget.
The Inspiration:
The story of The Bridge was a story a cousin had told me when I was eight years old. It was a ghost story about two siblings on a bridge. I remember it haunting me for weeks and causing many sleepless nights under my sheets. Obviously, it had a lasting influence in my life. It had always been one of those stories that I wanted to adapt into a short film so when the opportunity finally came one day, I decided to pull to trigger.
When I was in film school, I would constantly fantasize about making some sort of epic period piece, especially one that took place during WW2. So when I decided I was going to make The Bridge, I instantly followed it up with “hell, why not make it into a WW2 movie”? I could have easily made this film as a contemporary piece but where would the fun be in that? I never do things because it’s easy; I do it because it’s hard. I love a challenge. I figured I could keep the same characters, themes, motifs, style, and wrap it around a WW2 setting. So I did.
Pre-production:
So it began. After a quick outline, I started writing the screenplay and, being a one-man crew at the time, I also started doing work on costumes and props. I lived and breathed WW2 24/7. I watched every WW2 movie and documentary I could get my hands on. I even got my hands some real WW2 letters to get a grasp on the era’s language. I felt like a student again and I loved it. I scoured eBay for every WW2 field gear I could afford to buy and the stuff I couldn’t get, I had them custom made cheaply in China. I wanted it to be detailed and authentic as possible while keeping my almost non-existing budget down. I remember coming home one day and having almost a couple dozen eBay packages on front door. It looked like the front door of the post office.
Casting:
The casting of The Bridge was actually one of the smoothest aspects of the entire process. I first went to my good friend Amy and asked her if she would like to help me produce the film. Having worked with each other before, I didn’t really have to ask twice. She was happy to be my first recruit.
For the leading role, I asked my good friend Pablo Soriano to take the part. Having worked with him before, we have a good understanding of each other. He is just a naturally gifted actor and he makes my job as a director so much easier. Plus, his puppy dog eyes make him a perfect protagonist.
For the leading female role, I went looking for a girl who had beautiful, almost hypnotic eyes. That’s when I spotted Leah in one my good friend’s music video. I called up Carlos and basically told him, “I need to have that girl for movie”. A few days later, she was on board.
I owe the discovery of Mike, the character who plays James Connolly, to my producer Amy. She had read the script and recommended him. I remember her telling me “Mike IS James”. Words that any director would love to hear and as usual, Amy was right.
So a couple months later, the script was complete, the costumes and props were ready, and the cast was cast. We were ready to shoot!
Production:
With our extremely limited budget, I knew right from day one that we were going to shoot “The Bridge” on DSLRs, specifically the Canon 7D and 5D Mark II. With this in mind, I knew (as also the DP of the film), I was going to push these cameras to its limits. I wasn’t going to let my equipment limit my vision of the film. I knew at the very beginning that I may or may not have a crappy movie in the end but hell, it’s gonna look damn good! We all know about the camera’s limitations but I wasn’t going to bitch and moan about it, I was going to work around it. I took it as a personal challenge to make these cameras work and I did.
About 75% of the film was shot with the 7D and the rest with the 5DM2. The main reason I shot with the 7D more was the 24p firmware update wasn’t available for the 5DM2 during the bulk of the shooting. I prefer the 5DM2’s full frame sensor the 7D cropped sensor.
Production, like any other shoot, had its ups and downs. Ours was mainly San Francisco’s unpredictable weather. You can blink and the bay area can go from miserable foggy weather (which is what I wanted for the film) to perfect summer beach party weather.
Also, being
5:28
Worked For Me (5D MRKII - 5:24)
Follow me on twitter for tutorials, behind the scenes, etc...
twitter.com/_Citizen_Ken_
...
published: 16 Nov 2009
Author: Ken Simpson | Director
Worked For Me (5D MRKII - 5:24)
Follow me on twitter for tutorials, behind the scenes, etc...
twitter.com/_Citizen_Ken_
Written/Directed/Produced & Edited by: Ken Simpson
Cinematography/Camera operating & Color Grading by: Alex Dacev
THE LENSES:
The DP owned one 50mm prime, about as stock as they come and I borrowed my friends 28mm prime for a few shots here and there. I did however, rent a 70-200mm canon zoom lens for most of the shoot and that cost me another $200.00. Later I found out that a friend of mine had the same lens sitting on a shelf collecting dust...Bu Hao
THE DOLLY/FOLLOW FOCUS:
we used the microdolly for almost all of the moving shots (we used a tiny skateboard for the dolly along the shoes).
http://www.microdolly.com/micro_2.html
It's a very simple device to use, the kit is insanely cheap ($45.00/day) and comes with a 13 foot track which is like a tent pole design, meaning it's all one piece but you could collapse the end of it to fit into smaller spaces. There is a 45 degree curved track option as well, but we never bothered to rent it.
We probably should have had a little more weight on the tripod itself, given that it was only the 5D because the tripod would slip off the track from time to time. You'll notice we had a shitty tripod so we tapped it to the T-bar rather than it fitting in snugly like it would had we had a real profession tripod, ah well. Oh and those foam pads they provide you with to go under the track? We ditched using those after the first day, they just got in the way.
This may not be the best option in the world for flexibility, it's more of an indoor dolly for sure but I'd totally use it again if I was on a tight budget. It's a great way to add production value, considering the price.
We did use a redrock adapter but for some reason we couldn't figure out how to get the focus ring onto the left side of the camera, so the DOP could pan/tilt with his right hand. Not only that but his lens package weren't very high end so the clamp kept slipping off the focus adjustment on the lens (we ended up using double sided tape to make it bite properly). Focus was such a tricky and often elusive thing, there were several double digit takes done to achieve proper focus through out the whole length of the shots.
THE LIGHTING:
1x 1K Arri tungsten
1x 650W Arri tungsten
1x 300W Arri tungsten
-for Saffron's day scenes we used a medium flexfill
-and for her night exterior footage I used a tiny led (daylight balanced) camera light, the kind that slides into the accessory shoe of consumer cameras. Really cheap, it cost me $69 I think. The light sensitivity of the 5D really is insane. Since it was just a crew of two, the DP and I, it usually fell on to me to provide a little backlight on those night scenes and it was a little bizzare to be 15 feet back and it still be too bright.
THE SOUND:
I used my old Canon XL1s with a Lav attachment to re-record all of the spoken lines in the film. Basically after the cut was finalized I cued the scene up on my laptop, had the actors watch the takes a few times and then had them say the lines until I thought they matched up well enough. I bought the lav about 6 years ago, it cost about $250.00 or so and it wasn't top of the line or anything.
The reason were weren't plugging the lav into the 5D is because you still couldn't control the levels with the camera, so if something peaked, I'd have no real idea until afterwards anyways. You really do need an external device for good audio with this camera, sticking a boom mic or shotgun attachment won't really get you much better in the way of quality especially with that horrid auto gain feature.
THE WORKFLOW:
Converted the footage in FCP to Apple ProRes (HQ) files.
Edited accordingly with shitty guide track from the 5D, then had the actors re-record their lines with my lav attached to my old XL1s running in 30P "FRAME MODE". Cleaned up the timeline then sent it to Color for grading.
BUDGET:
Other than the one lens and the Microdolly and Redrock adapter, I just spent money the regular stuff like gas and meals. The locations were free, the actors brought their own wardrobe, except for the doctor (the DP has been a doctor for halloween for the past ten years and already had the lab coat and stethoscope!), there was no hair or make up dept. All of Saffron's scenes were shot over one day/night and by luck she had some hair extensions of her own that she was able to put in over lunch to help sell the idea that a lot more time had passed over course the of their relationship - you'll notice she never has short hair during any of her night scenes.
Total cost of this film $800.00 (approx.)
If you're still interested, you can check out our first short with the 5D MrkII here:
http://vimeo.com/6823324
Youtube results:
3:59
never say never again motorcycle chase
Chase from the Bond film Never say never again...
published: 20 Sep 2008
Author: Samuel Addison
never say never again motorcycle chase
Chase from the Bond film Never say never again
2:48
James Bond - Never Say Never Again - Soundtrack
Der Titelsong zum gleichnamigen James Bond-Film, der allerdings nicht zur offiziellen Seri...
published: 10 Jul 2006
Author: tischro
James Bond - Never Say Never Again - Soundtrack
Der Titelsong zum gleichnamigen James Bond-Film, der allerdings nicht zur offiziellen Serie gehört.
3:49
Phyllis Hyman -Never Say Never Again
Unreleased sound track to James Bond 007 movie...
published: 09 Oct 2008
Author: Tjmama5
Phyllis Hyman -Never Say Never Again
Unreleased sound track to James Bond 007 movie
2:13
Tango from the movie "Never Say Never Again"
Tango from the motion picture "Never Say Never Again", danced by Sean Connery an...
published: 14 Aug 2007
Author: tangoafficionado
Tango from the movie "Never Say Never Again"
Tango from the motion picture "Never Say Never Again", danced by Sean Connery and Kim Basiger.
