Saturday, April 18, 2015

TRAILERS: Batman vs Superman, Star Wars VII, Pitch Perfect 2, Jurassic World Clip & News

I am finally starting to feel better and I made it to Furious 7: IT WAS AMAZING.  Every second was perfect and James Wan is going to be in hot demand for this; I will get the post up by tomorrow; I am truly sorry I have been so behind. Ray Bradbury wrote a short story called All Summer In a Day and a film was made out of it; I always feel like Margot when things like this happen, such is life. But, the good news, we do not have to wait until Monday for the Batman vs Superman teaser trailer, because it's here now and it's deep:
(Please note that I am not fully functional, but I am trying to get my brain out of the mud and back into production). There is obviously a ton going on in this trailer (that's technically not a trailer, it's a teaser, which is coming to define itself as making you want to see more actual footage, while generally outlining the primary conflict) and it's interesting that we begin with disembodied voices. The two heroes, Batman and Superman, are known for their bodies, and their toughness and strength, but we first hear voices without bodies; why? The people we hear talking aren't risking anything. The last thing we hear is, "Do you bleed? You will," and what brings us closer to our bodies than seeing our bodies loosing the life-giving blood which they require? The voices in the beginning aren't in any danger of losing blood, or anything else, they are in a peanut gallery, offering countless perspectives without offering an answer. It's always good to circle and question an issue, yes, but that's not the point the teaser is making, and we need to keep this in mind as additional footage is released.
We knew that Superman had x-ray vision; does Batman? Or does Batman just have glowing eyes? The eyes are the windows of the soul, which is why this is such a strange development. Each of them is going to be using the strength of their soul against the other (because both of them have reason to believe that the other is evil). 
At 0:58, we see a grand, conflicting statement that is well done: a public monument in honor of Superman has been put up in a public space, as an act of gratitude and a private person, in secrecy (or they would have been arrested for vandalism) made a personal statement and a condemnation: FALSE GOD.
What does that mean?
This is a totally "out there" moment in the trailer, and--not being a reader of comic books,--I didn't catch this. The graffiti we see here is supposedly a calling card of Batman's great nemesis, The Riddler (the question mark highlighted by the red arrow is his personal logo, as well as the greenish light we see). Surely, had The Riddler been cast in the film, we would know about it, and who was portraying him,.... surely we would, because we are bloggers and we know everything. The truth is, if you look at the complete casting roster, there are several actors with blanks by their names who could conceivably be filing in for it. We have to make the connection, because the trailer is basically doing it for us, that the graffiti we are seeing in this seen is tied to the graffiti on the Superman statue and the lights surrounding that statue, are like the lights we see in the image above. What to make of it? We really can't at this point, there just isn't enough information heretofore, BUT this is whetting our appetites for the kinds of structures we will be seeing in the narrative and what we should be looking for. 
Well, it's right over the S sign, which Superman taught us, means "Hope" where he comes from; either "Hope" is a "false god," or else someone thinks that, in Superman's heart, he thinks he is a god, which makes him a false god. It's also possible that Superman himself actually isn't the target of the graffiti (this is an example of deconstruction and the use of ambiguity and undecidability) that others, the mob, the people are treating Superman like he is God, and that he is not God.
"That's how it starts."
This, this is genius.
The devil doesn't come from the ground beneath us, no, they come from the sky. This is the first we hear of Lex Luthor, pictured in an early release photo above (this may not actually be in the film, in other words). Why does he say this? Well, there has been a real battle over "the sky" lately, and on one side, we have Gravity and Pixel telling us that we don't belong in space; on the other hand, we have films like Star Trek Into Darkness and Interstellar, telling us that, we do (and Star Wars coming out will affirm this as well). So Luthor relating an alien, Superman, to the devil and where the devil dwells (the sky/space where he came from) is following what we are seeing in the socialist agenda of keeping the US out of space. Why is the US being out of space important to the socialists? Because they want to court a vision of the US has being weak and losers (with endeavors in space comes a boost in confidence) and to limit technological advances so there will no longer be a free market. It's important for the narrative that Luthor is reportedly going to pit Batman against Superman and vice versa, playing them off one another in the hopes that they will destroy each other and leave him as the "last rat standing."
What has been described, and condensed into concentrated form, is a process the masses go through (or they are led through by TV news personalities) over a new public figure: good or bad, innocent or guilty, all the talk and coverage is a form of cultural dissection of a human being (even if that human being is actually the alien Superman) and that's the "it" in "That's how it starts."
Another writer caught this, and I certainly didn't: this shot looked to me like Batman was standing on a tower with some antennas or something coming up by his right shoulder, but that is actually a rifle with telescopic lens; why? An obvious conclusion would be that he's going to use it on Superman, but perhaps this is later in the film, after the Justice League has begun to form and it's for someone else.
Now, if you will notice at 1:09, the Bat suit, there are at least two interesting things about this: first, there is a wide, gaping mouth (the mouth, as we know, are symbolic of the appetites) and secondly, the "skin" of the Bat suit appears to be made up of,... paper mache? The Bat suit is usually thick and tough for protection, but it looks like a bunch of bandages and pieces of paper were glued onto a form and then painted over with gray paint. That's going to be important, I don't know how yet, but it will be.
Why is Superman an alien? Why isn't he just an American who became endowed with incredible strength and powers? Because Superman's leadership and moral authority is "alien" to us (especially in this day and age) but he symbolizes that to which we should be aspiring. In the background of this image, you can see several white faces with black eyes, those are celebrants for the Mexican Day of the Dead (and there is a huge chase scene that takes place during the Day of the Dead in Spectre with James Bond ). The days are celebrated with the Roman Catholic Church (note the cross on the forehead of the girl over Superman's left shoulder) and coincide with Oct 31, Nov 1 and Nov 2 solemnities and feasts in honor of the saints and deceased. Why is this important? One, it illustrates the international reputation the Kansas farm boy suddenly has for himself; two, the people wearing festive make-up look like the dead, and in this scene, depending on what is happening, we may interpret it that way. Third, if you will notice, in the extreme bottom, left corner, someone is reaching out to touch Superman, which emphasizes the problems with the "Savior" issues, especially on a feast day of the Church celebrating the Redemption of Christ (we know, though, from Man Of Steel and imagery in the film that this is not going to be a usurpation of Christianity, just showing how people would rather have a savior they can reach out and touch, rather than a savior of faith).
One last little detail: the capes. Both Batman and Superman have capes, one black and the other red, and yet, they are probably both meaning the same thing, just taking very different routes to get there. Red, as we know, means "blood," because you either love someone enough to spill your (red) blood for them, or you hate them enough to spill their (red) blood for your wrath. Black means death: either you are dead to the world and living in the spirit, or you are dead in the spirit and living in the world. We know that Superman is filled with love because he wants to save others, which is also another important detail of his cape: the folds on his shoulders.
It is being rumored that Chris Pine will be the next Green Lantern for DC comics; that would be awesome! It's also being rumored that Warner Brothers wants a black Green Lantern, which would be an example of cultural destruction and moral re-distribution (Michelle Rodriguez said she had been offered the part of Green Lantern, to which she replied that minorities needed to stop stealing white super heroes, and to get there own). This isn't going to be an artistic decision, but a political one.
The shoulders symbolize our burdens that we take on in life which is why superheroes wear capes, to denote the extra burdens they take upon themselves. Superman's is a burden of love, Batman's is a burden of death-to-the-world, but Superman's cape has four folds in it on his shoulders, while Batman's (at 1:36) appears to have only two. In St. Augustine's numerology, two is always (well, nearly always) an imperfect number (because it's not one, which means [theological] ultimate simplicity, nor is two three, which symbolizes the Trinity, so being in a state of "two" is being in an imperfect state, which is why, in marriage, "The two shall become one") but Superman has four folds on his cape, which means he carries the heavier burden, which is why he is an alien among us (see above caption for explanation).
This might just sum up the real purpose of the conflict between the two heroes: the reconciliation of what "justice" means, and that's important because of the role the Justice League will play in their futures.
ALSO, this awesome trailer for Star Wars VII: the Force Awakens. When Han Solo says, "Chewie, we're home," it's probably a reference to the fact that, although he and Leia were married, they have been separated for awhile and this moment, in some way, may refer to them getting back together; more than likely, knowing Han, he is reunited with the Millennium Falcon (because it looks like they are inside it).
We don't see any of the people mentioned in which the Force is strong, i.e., none of the people in Luke's family, except some iconic symbol of them, such as the mask of Darth Vadar, or Luke's mechanical hand, Leia's hand, or the light saber; we see Chewie and Han, and then other characters with whom we are not yet familiar. So what? Well, that tells us something about the Force itself, that there is a mysterious, unseen part of it (well, duh,...) but that it also binds people together and is passed down, like a gift,... or a curse. We don't know to whom Luke speaks in the trailer: is it his own child (he has been married and had a child), is it to one of Han's and Leia's four kids, to someone else altogether, or is it to us, the viewer? Han, it appears, has been living his own kind of exile (just as Luke has been) and that will be one of the interesting sub-texts that will drive the narrative. In the meantime, there is some news and some clips, including this delightful teaser for Pitch Perfect 2:
The "face-off" is imperative to understanding the film because this is basic, raw, impromptu competition: this is where they prove who is who and who is not. The big enemy in the film are the Germans, Das Sound Machine (and it's interesting that use of "Das" because that is the impersonal, rather than the feminine or masculine); in a word, I can hardly wait. Two important things about this clip: first, that they get 90s Hip Hop Jamz, because some of those kids weren't even born at the start of the 90s, but most importantly, Das Sound Machine probably wouldn't have been able to be a team because of the Berlin Wall and the separation of East from West. Another interesting tidbit,...
Rebel Wilson, who totally rocks everything she does, has confirmed that she has signed on for Pitch Perfect 3. In this image, we see the first poster for Quentin Tarantino's next film, The Hateful Eight; why is it important that it is Tarantino's 8th film? He's supposed to stop making films after this one,... we'll see. The film has not even started production yet. The Avengers' director Joss Whedon is under lawsuit for his writing work on The Cabin In the Woods while the lawsuit against the sequels of James Cameron's Avatar have been dismissed. The live action Disney adaptation of Beauty and the Beast has started, with Emma Watson as Belle, Luke Evans as Gaston and Kevin Kline as Belle's father. This note is something that is going to be coming up in future discussions, because it will be in future films. In Captain America: Civil War (May 2016), we will be seeing Ant Man and Scarlet Witch and a host of other Marvel heroes (most likely including the newest Spider Man as well). Before that, however, is Thor 3: Ragnaork (November 3, 2017) which will pick up immediately at the end of The Avengers 2: Age Of Ultron. "Ragnaork" is the Apocalypse of Norse mythology, so basically, everything ends and everyone dies, but it's so everything can be regenerated and come back even stronger than before, which is what we will see for The Avengers 3 & 4 The Infinity Wars Parts 1 and 2 (which Hemsworth is contracted to return for). 
...and I really like this: the German guy we see in this is named Flula, and his YouTube channel has over 500,000 subscribers, which is how he got the gig for Pitch Perfect 2. Now, we saw this with The Hunger Games: Mockingjay Part 1, when they had a dozen or so YouTube celebrities making videos for the Capitol TV station in their own area of expertise. Why is this awesome?!?!? Because it shows these films participating in the American Dream and IT WORKING TO ADVANCE PEOPLE IN THE FIELD THEY LOVE. Period. The opportunities for expansion are expanding and in spite of the Left trying desperately to convince Americans that capitalism doesn't work, these films are actively participating in ways to demonstrate that it does. I haven't had anything good to say about the upcoming release Jurassic World film with Chris Pratt and, with this clip, that pattern continues:
We know that real people don't wear their jackets over their shoulders the way Claire is in this clip; it's so pretentious to do that; why? Shoulders, again, symbolize our burdens, but the shoulders aren't really the issue with this outfit; it's the practicality of what happens to the hands; why is that an issue? Her hands (anyone wearing a jacket like this) become almost useless because if she moves them too much--which is what hands are for--her jacket will succumb to gravity, fall off her shoulders and get dirty on the ground (that's why it's so pretentious; normal folk need their hands/arms to be free to do basic tasks, people wearing a jacket like this advertise they don't need to do basic tasks). In essence, she becomes like a T-Rex, with his small, helpless like arms and tiny hands. At about 1:25 comes my next problem with this clip,...
This is the second poster released just today for Jurassic World, so it's significant. On the left we have the scientist, on the right, we have the scientist's creation, the Indominus Rex. While we see the man-made and artificial world of the sterile lab environment on the left, there is the wild and untamed jungle of unpredictable life and death on the right. The most important element of this is,.... her feet. She's wearing heels, so that suggests she thinks she is above something (like being above other people, or the law, or nature, or all of the above and then some) and they are nude (a pleasant way of saying "flesh color"), so that is natural to her, it's her natural state, like the natural state of the dinosaur she has created, the dinosaur which will have Claire's own characteristics, will also naturally be above all the other dinosaurs, like Claire wants to be above everyone else; according to socialist, this is the negative result of competition (the park had to do something to get tourists to come because it wasn't making any money, which is the driving force of capitalism and the free market, so, if there is no capitalism or free market, things like this won't happen,... see?). It may appear that there is a piece of glass between them, and they are looking at each other through the glass, but actually, they are each looking into a mirror and seeing their own self, Claire seeing herself in the dinosaur and the dinosaur seeing herself in the scientist who created her. A new trailer is on its way out.
Oh, boy.
He names off the characteristics of the animals and then asks, "You're able to relate to at least one of those, aren't you?" because for socialists, we are animals: There is nothing special or unique about us, we are just like the dogs and the insects of the world, and we certainly don't have souls or are called to participate in some higher moral reality. What is being done, is making Chris Pratt's character, the one "in touch" with his animal side, the attractive figure, and Claire, the capitalist figure, very out of touch with everything and the villain. Additionally, Pratt's character appears to be, or at least wants to appear to be over-sexed, because he just can't keep bringing it up in this 60 second clip; that's a form of brainwashing for men and women: for men, because it suggests that is how they should behave, and for women because it suggests that this IS how men behave and it should be accepted as "natural" because men and women are just animals.
Happy Birthday to Pope Emeritus Benedict XVI and Mother Angelica!
Eat Your Art Out (and thank you for your patience!),
The Fine Art Diner

Monday, April 13, 2015

TRAILERS: Age Of Ultron, Terminator Genisys, Ant-Man

I have been so sick.
My brain is full of medicine, so I am sorry, this is mostly just to send out a smoke signal that I am still alive. I can't even type, so I don't know how I am going to write anything thought-provoking, however, these three trailers are so cool, so amazing, maybe it's best that I don't say anything. Tonight, anyway. First up is the latest and last trailer for The Avengers 2: Age Of Ultron:
Okay, I am going to say one thing: when Smoulders calls Stark "Boss," and Stark points to Rogers and says, "He's the boss," that's an imperative point that is setting up Captain America 3: Civil War. In spite of Tony designing everything, paying for everything and making everyone look cooler, he acknowledges that Captain America is the boss; why? It's a morality issue, first and foremost, but it's also a founding issue, remember, Steve Rogers is the First Avenger. Captain America is the best of the best, which is why he's the only one who can budge Thor's hammer in the opening scene. When the civil war starts (over those with super-powers registering or not) and Cap is on the "no-registration" side, and Stark is on the other side, we all ready know that Stark is the "villain," that the side with no registration is the superior side because Captain America is the superior Avenger, and Stark is the one capable of creating our own destruction (in the robot of Ultron).There is a lot more to write, but not tonight. Terminator Genisys just got really real:
What has happened to Sarah Connor's little boy? He was a Millennial who joined "the dark side" (which is exactly what we will be seeing in Star Wars VII). They were supposed to continue and win the fight, and instead, (like what we see in the other Arnold film, Maggie) they have given in and joined the enemy. "We are humanity's last hope," for freedom in every dimension of the word. Now, here is the awesome Ant-Man trailer we have been waiting for:
There is so much to write about this, I am overwhelmed, but two things. First, "You're just a thief!" is a reference to the little hobbit, Bilbo Baggins who, in spite of his size, accomplishes great things. Secondly, the choo-choo train at the end, is a reference to The Conjuring, Annabelle and the upcoming Poltergeist; how? Why? Because it's the issue of children being turned to socialism because they don't have any property to lose. If kids aren't allowed toys when they are little, then they won't grow up to the (insert animated voice) horrible, ugly, evil capitalists (end animated voice). The choo-choo, that has a name, I know, I just can't think of it, is a toy that teaches kids lessons, and lessons that specifically are the kind who will destroy whatever it is yellow-jacket (the villain) stands for. I wish I could do more tonight, I am sorry, but I am getting better and will post asap.
Eat Your Art Out,
The Fine Art Diner

Friday, April 3, 2015

TRAILER: Aurora

If any of you have doubted me, and I wouldn't blame you for doing so, just be honest, if you have, this trailer totally validates EVERYTHING I have said for, like the last two years.
TOTALLY.
A blessed Good Friday to each of you!
Eat Your Art Out,
The Fine Art Diner

Wednesday, April 1, 2015

TRAILERS & NEWS

A most blessed Holy Wednesday to you all!
As you may or may not recall, Fast and Furious 7 opens this weekend (Last Knights with Clive Owen and Morgan Freeman also open, but it's limited; if I could I would definitely go see that!); due to Holy Week events, specifically Mass for Maundy Thursday, I will be going to F & F 7 Friday, early in the day, Tweeting my initial response (which is going to definitely be positive!) and then getting that post up ASAP; which will probably be sometime Saturday, due to the ceremony Friday night, but I will be working on it anxiously.
The new edition of Poltergeist has released another poster (left) in anticipation of the May 22 release date. Why should we be concerned with this? Because whatever is in that closet (on the right) is in the closet of our culture. Whatever is trying to get out, or pull us in, is doing so on a national level, and we should be paying attention. The original 1982 film was a great horror story (it's the post that I get the most emails about: The Family Graveyard: Poltergeist) especially how it treats the passing of sin from one generation to the next and the early, unintended sex education kids are getting. Since the makers of The Evil Dead are doing the film, I am confident it will be a good one. 
Speaking of Fast and Furious 7, discussions for F & F 8 are all ready underway, and we shouldn't be surprised since the franchise has been locked into a total of 10 films. Dame Helen Mirren, of all people, has expressed that she would like to portray the villain in the next film, and I think that would be totally awesome!
Over the weekend, after the release of the first trailer, reporters were invited to join Sam Mendes and crew for the filming of the Day of the Dead parade sequence in Mexico for Spectre: some of the news and nuggets they were able to get includes that Spectre is one film, it will not be divided into two films (like Mockingjay Part One and Part Two). Now, as we know, Daniel Craig is signed officially to do 5 Bond films, Spectre is number four of the lot; reporters asked about Idris Elba rumors to replace Bond , to which producers responded that, after film number five, Craig has an open-ended contract, meaning, Craig gets to negotiate each film independently, so he's not automatically "no-longer Bond," he will just have different negotiations for the films. It's possible that Craig will decide he no longer wants to play Bond: he's aging, and he has experienced a couple of injuries on sets all ready, and they're not done with filming. It was also asked if the Mexican government had paid the film $20 million to make Mexico look better and re-write the script, to which they answered no, that the script had all ready been written. It's not such a far-fetched question, however: the film is astronomically over-budget, around $300 million (some even say closer to $350 million, but it's not clear if that includes the costs of purchasing the rights to SPECTRE that made this film possible); Skyfall brought in over $1 billion, so I'm sure they're not counting pennies to make this the best film they can. 
There gets to be a point where it ceases to be hype and, instead, becomes tiresome. Someone has leaked that the heads at Warner Brothers have decided it's not a good idea to show the trailer for Batman vs Superman: Dawn Of Justice until later, because The Avengers: Age Of Ultron is going to be causing so much hype, they don't want their film to be overshadowed. There were respectable rumors that the film had moved up its release date, from March 2016 to December 2015 (which would put it with Star Wars VII which IS releasing their next trailer attached to The Avengers) but, it's still slotted for March next year. Part of this is the vicious publicity cycle of film companies releasing info for bloggers--like myself--to blog about, so not only do we have stuff to blog about, but they get the free publicity.
The truth is, I am in a wretchedly bad mood: three major Hollywood liberals, Ben Affleck, Matt Damon and Hugh Jackman, have announced they are making a movie about the Apostle Paul,... yes, Paul who was a Jew and converted and wrote a large number of the books of what became the Bible. Don't be surprised if  Paul is gay and a vegetarian. Why are they doing this? Jackman is doing it because he's a liberal. Affleck is doing it because he is a liberal. Damon is doing it because he's desperate. Damon hasn't had a hit since his last Bourne Supremacy film, and thinks that making a Bible film will make him money, give him a hit and a platform for his liberal indoctrination. I'm in a bad mood. (Bourne 5 is being made and is slated to open July 2016, the date vacated by Planet of the Apes 3; this is not a "cross-over film" with Damon and The Bourne Legacy star Jeremy Renner; Renner's next Bourne film has been moved way back; it's still in the pipes, but they gave preferential treatment to Damon, and I think they are going to regret that, because Damon and director Paul Greengrass are both liberals, so they will make a liberal film and people are not going to go see that). 
Speaking of Mad Max, which comes out May 15, and will have--at this time--the first public trailer for Batman vs Superman: Dawn Of Justice, the action film has finally released a second trailer. Heretofore, the clips they have released have been of sections of the previously released trailer, so no new material; this second trailer has quite a bit and definitely confirms thoughts about the first.
So, the story line goes, that Furiosa (Charlize Theron) is trying to cross the desert to get back to her childhood homeland where she believes everything will be better; she enlists the help of Max, who lost his wife and child in the events causing the apocalypse. In it's way, this will be pro-socialist, but they don't even so much have to focus on that, as much as they will direct the story line to being anti-capitalist, and here is how.
Rictus Erectus is the character in this poster, and the main baddie of the film; why? "Erectus" means the one who builds, and constructs, and we have all ready seen this character in Noah (Russell Crowe) and the sons of Cain who built things all over the earth as opposed to those who ate moss. Please notice the old-fashioned, Wild West style gun he carries prominently in the picture; where was the last place we saw a gun like that? The pro-socialist film The Lone Ranger. 
If you noticed, at the start of the trailer, Max is running and he has a gag around his mouth; why? For the exact opposite reason that Rictus Erectus above has the mask over his face and an enlarged mouth. Max is a man who "limits" his appetites, and people like Erectus have too many appetites. Where does this line of thinking come? Probably the 1987 film Wall Street, when Gekko (Michael Douglas) announces, "Greed is good" because of all the economic effects it has; even if this isn't it directly, it is it in a watered-down form because this is how Hollywood got its education, the movies.
The sequel to Bladerunner is happening with both Harrison Ford and Ridley Scott.
In the meantime, the Mad Max sequel is all ready being planned, along with a host of other sequels, including Zombieland 2, Crouching Tiger, Hidden Dragon 2 is being made, subtitled The Green Legend; Ride Along 2 is being made, Hugh Jackman is making Wolverine 3 now, and it's the last time forever that Jackman will wear the claws (he will likely be replaced by a younger actor for future Wolverine appearances in The X-Men films) and Pirates of the Caribbean 5 has been delayed,... again. Johnny Depp has received a non-filming hand injury which was supposed to only keep him from filming for two weeks,... that has been extended to four weeks, with Depp leaving Australia for New York for hand surgery; crews assure fans the film will still be on schedule, as such time delays were built-in.
Once again, a most blessed Holy Week to you all!
Eat Your Art Out,
The Fine Art Diner
The sequel to Olympus Has Fallen.

Sunday, March 29, 2015

Bond's Secret: Spectre Trailer #1 & Orbis Non Sufficit

It's all ready getting around that, just from one-and-a-half minutes of teaser, Spectre might prove to be better than Skyfall, if that is possible; if it is, Mendes and Craig would be the team to do it. This is beautiful:
The first thing we see at 0:08 is the blown-up MI6 building from Skyfall, that Silva (Javier Bardem) did to get M (Judi Dench) who died in the film. Seeing the ruined building, a huge scar on the glittering landscape, is a metaphor of the scar Bond is carrying within him, (remember, seeing the blown up building made him come back from "enjoying death") as Moneypenny points out when handing him his "personal effects."
For an in-depth analysis of this poster, please see Spectre & Bond which will also provide background on SPECTRE.
Every step of production has been meticulously planned by the crew, and it's not a coincidence that just a few days ago, they reminded Twitter followers of the anniversary of "blowing up Skyfall Lodge" and re-released the image below:
There are three striking elements to this image: first, the "mushroom shaped" explosion cloud, secondly, the beautiful house, burning to a crisp, and thirdly, the pitch-black bottom "border" of the image. Bond exploding Skyfall is like Silva taking the cyanide capsule when he was in captivity: it didn't quite work. 
In other words, the crew wanted us to know, THERE IS NO POSSIBLE WAY anything survived the explosion at Skyfall (and to link the explosion of Skyfall with the explosion of MI6 they knew we would be seeing again in the trailer), therefore, the "personal effects" from Forensics are deeply symbolic; how?
The center building, the old MI6, reminds us of the "shell" of an organization it is now, compared to what it was before the events in Skyfall, but it also reminds us of the "shell" of a person--and agent--that Bond became in Skyfall, and how pure adrenaline pulled him together to get the job done, but it appears that has worn off now, and he and M (Ralph Fiennes) are both left with demolition jobs only they can do. M, as we are being told, will be fighting for the very life of MI6, so we can see the parallels between the two new respected friends: what M does, in other words, will be--in some way--a reflection of what we will be seeing Bond do. It's possible that, like Bond, M will also have to walk into a meeting similar to the one at the end of the trailer, and face just as dire odds in his own way.
The house is a traditional symbol of the soul: as Bond was in the ancestral home, walking past his parents' gravestones (without giving them even a look), going down the priest hole he had spent so much time in, all these elements, like the water we see in the teaser, have "washed up the past from the deep" recesses of Bond's psyche; the box that Moneypenny gives Bond,....
"Forensics" released the materials that were found at Skyfall,.... "forensics" is a series of tests that are used by professionals and experts in the detecting of crime. If we think on this a moment, that's interesting that "personal effects" of Bond's from his ancestral home, that was blown up, were tested for evidence of crime. They were released, since, we can guess, there was no evidence of crime, however, Bond sees the crime, Bond knows that something is not right. We only have 1 1/2 minutes of trailer here, so it's possible that something has been planted in the box being given to Bond (the synopsis says something about Bond receiving a cryptic message from his past that starts him on his journey, so it might be the ring, which probably isn't in the box, or it's something else entirely). It doesn't show up as much in this screen shot, but, at 0:12, Bond holds a glass and there is a bottle of drink on his right; it also looks like Bond wears a brown robe, so he's probably at home when Moneypenny delivers this to him, suggesting he has taken some time off from MI6, which is why Eve delivers it, rather than waiting for him to stop by so he can just pick it up. Eve, then, is gaining an interesting "relationship" to Bond, established in an interesting way: she's marginalized. When we first meet her in Skyfall, she isn't in the action scenes, she is always "outside of it," like waiting in the jeep, or driving close to the train where Bond is, watching him from the edges of the casino and just briefly stepping in when he needs a hand, then slipping back to the margins again. Likewise, at the end of Skyfall, it's on the rooftop where she delivers the bulldog figurine from M's will and now we see her visiting him at home rather than the office. What's the point? Location is being used as a means of developing the character, especially locations that aren't generally associated with big action films like a Bond movie.
... and remember, she was the one who "killed" him in Skyfall (and "buried" him in the water after his dramatic fall from the train to the water below) so, it's an interesting choice that Moneypenny should be the one giving him this; or should we call her "Eve?" Eve giving Bond the mysterious, "coffin-like" box suggests the Garden of Eden and Original Sin, which is the more direct interpretation for all that we see (it would probably have made more sense if someone else had given it to him, like Q, or just some worker in forensics, but Eve giving it to him suggests a far more thought-out connection between Bond's past and present; she's in the position to give it to Bond because she was removed from field work after "killing him" and then decided to stay on desk duty with the new M). In Skyfall, Silva asked Bond, "What is your hobby?" to which Bond replied, "Resurrection," and this "black box" from Skyfall is another instance of Bond's hobby.
On another note, Eve wears a blue jacket in this scene, with a black shell beneath it. The blue signifies her own sad journey that we are really not privy to at this point, what she went through after killing 007, and then being re-united with him, only to permanently choose desk duty, perhaps out of fear of her killing another agent again. This has greater gravity than you may think because we hear Eve say, "You've got a secret, something you can't tell anyone because you can't trust anyone." Very often, when we say things "diagnosing" others, it's because that is what is all ready inside us (take, for example, in Casino Royale when Vesper [Eva Green] and Bond meet for the first time, and he deduces that she is an orphan, and she replies it's likely he's an orphan since he mentioned it, and of course, he is). So, Eve herself has a secret she can't/won't tell anyone, which is why she wears the blue on the outside (her jacket) but the black underneath: the part closest to her (the black shirt) has died (black is the color of death). What is it that died? We don't know, but it might have been her dream to be an agent in the field. Again, Bond is the subject, but what is happening on the margins, in this case, with Eve, offers additional illumination. What is Bond's secret? We have no way of knowing that until we see the whole film, and even then, they might withhold something, because that seems to be Bond's way, keeping control of the emotions by drowning them in drink, losing them in bed with a woman or ignoring them (of course, all of the above is an option as well).  This is just a hunch and that is, Bond's parents weren't killed in a skiing accident, rather, they were murdered, and Bond has always had a suspicion of this, which is why he joined the Secret Service, so he could find out and exact revenge. But this probably isn't it at all, it's just a guess. 
It also appears that, as she is giving it to him, it's at his flat, pictured above, rather than at MI6 headquarters. This, too, makes it more personal, as his ancestral home (Skyfall) is being brought into his new living arrangements through the objects in the box (his flat was sold in Skyfall after his "death" so this is presumably his new one above). He's still unpacking, as we can tell by the open boxes on the floor in the image above, so he's not just unpacking from the move to the new flat, but "unpacking" psychologically from the events that caused the move to be necessary, and now he also has to unpack the box Eve has given him. But let's look at what Bond looks at.
For as empty as this apartment is, there is a lot going on. For example, we can tell there isn't a woman in Bond's life, because the wood of the table is set against the wood of the floorboards, and most women would insist on there being a rug between the two pieces of wood, not only for the aesthetics, but also to prevent damage to the floor. The two dominant colors in the apartment are brown and gray. Gray is the color of the pilgrim or the penitent, because ashes were poured over their head as an act of humility. Bond wears a brown robe, sits on a brown couch, the floors are brown and there are brown cardboard boxes as well as the brown lamp; why? Brown is the color of dirt, either we are humble and see ourselves as being no better than dirt, or we ourselves are dirty and have no morals. Bond wears a brown robe, almost like a monk's habit, and that suggests (as we will explore further in the caption below for the exterior of his apartment) that he is going through a time of deep humility; why? Skyfall worked out in the end, but at a huge personal cost to Bond. Not only did he lose M (Dench), but he passed through death and was unfit for the field; more so, seeing Silva, Bond realizes that, for all he's done for MI6, he could be abandoned, as Silva was, and the same could happen to him. Even though, as he closed the door and was ready for the place to blow-up, Bond said, "I always hated this place," that doesn't mean that Skyfall Lodge and the priest hole into where he retreated isn't important to him, and isn't an important part of who he understands himself to be: in fact, that is really the most emotion we have maybe ever see Bond display (short of Vesper's death) and that he "hates," which is a strong word, Skyfall, suggests that the place is infinitely important to him, as effects being carried over from the last film to the new one suggests.  Why are there so many books? That's a perfect detail to communicate to the viewer what Bond's personality is like: objective, and easily communicated. Emotions, as we know, aren't like that, they can get messy and be impossible to communicate, so Bond, we can deduce, typically only experiences and relates to that which he can put into words and "document" rather than experience and remember. What emotions Bond has, at least on the surface of his ego, are indicated by the three black and white prints: they are all framed with a heavy, solid black frame, suggesting that the abstract art contained within them is "confined" and the frame is more of a boundary, a border, so his emotions don't spill over and leak out, creating a mess. There are numerous shadows in the room, the light being too little to illuminate everything, and those "dark shadows" echo the burn marks on the papers and documents Bond looks through in the box given to him by Eve. Last, but not least, that Bond appears to be in a state of "unpacking," as suggested by the boxes around, it's a fitting metaphor for his "unpacking" of his psyche, the box from Forensics and the boxes of books and personal mementos make tangible for the audience that Bond has baggage and the time has come for him to unpack, sort it out and deal with it. Since Skyfall Lodge is where Bond grew up, it's fitting that her personal effects should come from there because he is surrounded by books in this scene: James Bond originated from books (the novels of Ian Fleming), just as the character originated from Skyfall Lodge. The home, as we shall explore further below, is a symbol of the soul, because a home houses the body the way the body houses the soul; validation of this can be seen in the table, that appears to be acting as a scale. (If you click on the image, you can enlarge it for better viewing). On Bond's left side, is a glass of alcohol he was drinking when Eve arrived; at the other end of the table, on Bond's right, is the English bulldog figurine that M (Dench) gave to him and, like the personal effects from Skfall surviving the blast, also survived the blast of MI6 headquarters when Silva blew it up. On one side of the scales is Bond's desire for waste and forgetting everything (like what he did when he was enjoying death at the start of Skyfall) but, on the other end, is his duty symbolized by M's English bulldog.  The two are balancing each other, and Bond seems unable to decide between them, until Eve delivers the Forensics file to him and he realizes that his personal needs and professional duty have become one and the same thing.
What does the document Order Of Temporary Guardianship tell us?
If you look at the paper at 0:22, on the bottom, right side are two names: the legal guardian is listed as his aunt, Charmian Bond (we know this from the Bond canon), and the name below that is Hannes Oberhauser, played by Christoph Waltz. Oberhauser is listed again (close to where Bond's thumb is on the page) with a box for "Relationship to Minor" but nothing is written there which is highly interesting, and perhaps the "gap" in the narrative that is going to be filled by the film: how did a man with no clear relationship to Bond become his temporary guardian at the death of his parents?
The introduction of these documents are really impressive because it means that, more than likely, Bond himself was the one who saved them, unless it was one of the family staff at Skyfall, such as Kincade (Albert Finney). There is nothing more impersonal than court documents, because people who have absolutely no idea who you are decide your fate and change your life forever and they do it all in red tape and bureaucracy. The most difficult part of Bond's life, and we are seeing it only through the harsh reality of a worn court document and an aged, damaged photograph. Why? There are at least two reasons: first, something this vulnerable and emotional can't be articulated by the film makers, so they call upon the exact opposite kind of language, the language of the law in order to illustrate what can't be illustrated. Secondly, the polarity between the impersonal documents and the intimacy of losing his parents is a situation where the audience will fill in that incredible distant with our own emotions, our own thoughts, our own experiences, and that allows us to "bond" with Bond and make his struggle our own.There is, additionally, the polarity between the long-drawn out court documents, where all has been publicly deliberated, and the opposite end of the spur-of-the-moment, private photograph between those who know each other well. 
The next important detail is 23/1/83, the date, at roughly 12:00, that guardianship over Master James Bond began. Why is this date important? To begin with, in the Bond canon (the Ian Fleming books) Bond was born in the nineteen-twenties so that, at the time Fleming was writing and publishing, Bond would be about 42 years old. The dates obviously had to be changed so that Bond would be forty-ish today, so the date of January 23, 1983 is important because it was chosen by the film makers as having a direct link to events they are creating in the film, even if they are inspired by events from the books. So, what happened on the date?
A number of "critics," (I don't think they are very good, but that's probably beside the point) are having a fun time mocking Spectre because of James Bond's turtlenecks and the "throwback" to Sir Roger Moore days they think it invokes; possibly. They also think Craig's Bond is invoking a comic book hero called "Duchess." Doubtful. It's far more certain that Bond's look in Spectre can be attributed to the "King of Cool," Steve McQueen and his iconic role in Bullitt of 1968. Not only can we expect Bond to be under the same kind of stress and pressure as Bullitt, but it's possible the story line will share one or two key factors, like an impossible car chase scene the film is known for. Please click here for the in-depth analysis of the new Spectre poster (left).
The two dates surrounding it have important political markers: on January 19, 1983, Nazi war criminal Klaus Barbie was arrested in Bolivia; on January 24, 1983, twenty-five Marxist-Leninist guerrillas were sentenced to life imprisonment for the kidnapping and murder of Italian prime minister, Aldo Moro. Both of these 1983 dates share evil socialist actions in common and that's something we should keep in mind as we watch the film.
Now, what about the photograph?
If you would like to have a closer look, please click on the image to enlarge; you can even download it and expand it in your viewer. Please note how young James, left, wears a light, blue stocking hat: this symbolizes at least two things. First, the hat suggests that he keeps his thoughts to himself, so not really trusting anyone has been a habit with him from the start. Secondly, blue is the color of wisdom and depression; James might have been (at least mildly) depressed as a youngster, and so the high-paced, fast lifestyle of being a spy probably appealed to him to help keep him from depression that appears, as he wears a brown robe in his flat, to be re-visiting him now. The blue also suggests that Bond might have been "wise beyond his years," and he knew something that he never told anyone, or wasn't in a position to tell anyone. The figure on the right, with the burn mark over the face, is too much of a coincidence (not only that their face is burned off) that it matches Oberhauser and the first time we see him (sitting at the table, welcoming James) with his face blacked out.  The question is, and this might not be answered, were all the burn marks made as a result of the Skyfall explosion, or had someone burned the documents prior to that, including the face of the person on the right?
Who is the man in the photograph?
The young boy is obviously Bond, but the man could be Oberhauser (but he doesn't look like Waltz, who plays this role) it could even be Mr. White when he was young (but I doubt Bond would suddenly remember him upon seeing this photograph, so Mr. White is a possibility, but not a likely one at all) or, it's possible and even likely, that the man in the photograph is Andrew Bond, James' father; a photograph of the two together, this is just conjecture, would relay to the audience their father-son "bond" that Bond himself would never do in words, IF this is the direction the film is going to go. Again, this is just a guess. There is also the question of who the person is that is in the "burnt spot," (it could be Andrew Bond and Oberhauser, or Bond's mother Monique) but there is also the fourth person in the photograph: the one taking the picture, who took this? Is the photographer Oberhauser, snapping a last photo of the Bonds before they are eternally separated? That the photo prompts questions and memories inside Bond is demonstrated by what happens next in the trailer.
This shot is not in the trailer, however, it's part of the production publicity that has been released. Bond, at his apartment, looks out the upper-story window. There probably isn't much to the average viewer, but you and I, dear reader, we know better. As stated above, the home is a symbol for the soul because a home houses the body the way the body houses the soul, so the windows are like the eyes of the house, which would be the "soul," not only because they are openings in the facade, but because of the "reflected" nature of the glass. The first story of a house will always be our public persona, how we act with everyone, whereas the second story would be our space with ourselves, what we think and feel when we are alone; why? As we go up, it symbolizes the advancing nature of our thoughts, "higher thoughts" of a metaphysical nature and the meaning of ourselves and the world and purpose. Bond, wearing his brown robe ("monk's habit") looks out the window (an act of personal reflection on himself and his life) from the second story of his flat (from the highest region of his mental capacity). What is he thinking about? We can't say, not at this point anyway, but it's a great time to bring up his family's motto: Orbis Non Sufficit, "The world is not enough." What is that supposed to mean? No matter what Bond accomplishes, who he saves or how good he becomes, nothing in this world is going to satisfy him, which is why we see him wearing a monk's habit (remember, he spent a week in the priest hole after the death of his parents) because this world isn't enough, the Bonds want the next world as well, and that's the world of the eternal spirit.  
There is a FADE TO of Bond (we can assume) on water, slowly traveling to a shore. This transition is genius. As one of the basic, four elements (fire, air and earth the others),  water proves a complex symbol because it's mutable and stands for our emotions and spirituality, our intuition and sensitivity. In the shot (below), it's this element taking Bond  on this journey, as director Mendes did at the start of this trailer when we are going past the old MI6 building. "Water," we can probably safely say, is going to be a dominant symbol in the film (it's at the start of the trailer, in the mid-point pictured below, and there is the pitcher and glass of water beside Oberhauser at the table at the end of the trailer, so it's fairly pervasive, just in this minute and a half).
Why water?
Water is going to play a huge role in the film and, while I don't recall that we have really ever discussed this in-depth anywhere, it would be similar to the landscape or city-scape of a film becoming a character. For example, many people are familiar with the films John Wayne made with director John Ford (Stagecoach and The Searchers, for example), but any Western will heavily figure in the landscape in the events. The city of London is very much a character in the BBC series Sherlock with Benedict Cumberbatch, and a film about the jungle, such as Christoph Waltz's 2016 Tarzan, will have a significant integration of the landscape with the story line. There are three stages of water, as you know: water as a liquid, water as a solid (snow) and water as a gas/vapor (clouds, fog) and we have water in all three of its states in this image above. The three stages of water symbolize the three stages of the reflective quality, but I am going to wait to see how the film uses water to say anything else beyond this point, but it will be necessary for us to keep it in mind.
We can say that Skyfall was about fire, not just the explosions destroying MI6 and destroying Skyfall, but as well as the spiritual fire Bond had to pass through from the moment when Moneypenny "fired" the shot at Bond to him showing up in M's apartment, ready for duty. Water, then, could not only be washing away the ash and embers, but also tempering, like a red-hot sword plunged into water so it will harden and cut. That's what the old, familiar voice we suddenly hear is telling us.
"I always knew death would wear a familiar face, but it's not yours." He knows Bond isn't there to kill him; why? Mr. White knows Bond is too good of a person to kill Mr. White just to kill him, that the devil is going to come for him instead, which is probably why Mr. White is hiding out. If you will notice, there is nothing discernible behind him: just darkness and shadows. We have seen something like this in Fast and Furious 6 when, towards the end, Dom and crew were fighting Owen Shaw and crew on the airplane as it was trying to take off and, as different characters were killed or fell off the plane, they fell into pitch black darkness, because that is what their souls were: darkness. We can say the same here of Mr. White, that he has lead a life of such sin and crime, that there is nothing left for him but to be consumed by the very darkness that he has helped to spread throughout the world. His name, Mr. White, after all, could have one of two meanings, but we know which one it is: white is the color of faith, hope, charity, innocence and purity; white is also the color of a corpse, and symbolically describes a "walking corpse" in which faith, hope, charity, innocence and purity have all died and given way to darkness, vice and evil. The latter applies to Mr. White. In this scene, he is wearing gray, does that mean he is in a state of penance? Well, we can't really say anything about his horrible appearance--a far cry from the sophisticated, international criminal we have seen him as in the past--but in this case, I think the gray is to demonstrate how spiritually close to the darkness behind him he all ready is, and he doesn't have much further to go. On another note, he said to Bond, "I'm flattered London was still talking about me." Why would London, in his mind, still be talking about him? Because of how he escaped Bond's grasp in Quantum Of Solace and had M's (Dench's) bodyguard turn and shoot on her. This is an imperative point, because it demonstrates that Mr. White thinks about himself and his position first and foremost, he's not thinking that Bond has worked his way into a higher situation to position Bond to receive highly classified criminal information about SPECTRE , so when Mr. White tells Bond, "You're a kite, dancing in a hurricane, Mr. Bond," and Bond squints his left eye slightly, the same practice of Mr. White thinking about himself and his own position is what is being applied: Mr White is the kite dancing in a hurricane, but--as lonely and small as Bond is in this treacherous world--he is still James Bond and he is determined to overcome all the odds. Why would a familiar face be coming for Mr White? If Bond isn't going to kill him, why is he there? If you will recall in Quantum Of Solace, Bond goes to Rene Mathis, who he believed to be a double-agent but decides to trust him when he needs money; needing information, Bond goes to Mr. White who was largely behind the death of Vesper. Knowing that Quantum, or SPECTRE will be around at the right time to do away with Mr. White is probably sufficient for Bond and he won't get in their way of executing "justice." 
Mr. White (Jesper Christensen) is back. Even though the old devil wasn't in Skyfall, he was in Casino Royale and played an important role in Quantum Of Solace. It's not so much who Mr. White is, as what he symbolizes that is going to prove pivotal for the narrative. Above, I made the suggestion that Bond's secret is knowing that his mother and father were murdered, rather than just dying as a result of a mountain climbing accident; Mr. White, you may recall, had a member of Quantum shoot at M (Judi Dench) who very much was a surrogate mother to him ("M" stands for "mother") and Bond went after White with a vengeance. "You are a kite, dancing in a hurricane, Mr. Bond," Mr. White tells him, and that's why Bond is so strong in Spectre: they have seriously underestimated his strength as an individual and a hero always being converted to a stronger and wiser state of existence. What happens next is a quote from a film we are quite familiar with.
What do the two black birds, ravens or crows, symbolize that come flying out at Bond when he enters the house? Death. The black birds are the opposite of the dove that the Holy Spirit embodied at the Baptism of Christ; it's impossible to say, at this point, who the two black birds symbolize. They could be Oberhauser and Mr. White, or it could be Bond and M (Fiennes), or Oberhauser and someone else we don't know about yet, like Monica Belluci's character (more on her below). Please compare the background of the windows, both on Bond's right and his left, bringing in some light, as opposed to the total darkness behind Mr. White. 
At 0:56, Bond places a ring on a chess board, in range of a pawn. Why? This is probably a quote from Guy Ritchie's Sherlock Holmes: A Game Of Shadows. Chess was a prominent feature of the film, and created a tangible expression for the mental game of "cat and mouse" in which Moriarty and Holmes entangled themselves (please see Blitzchess & Chaos: Sherlock Holmes a Game of Shadows and The Chess Game Of Prof Moriarty and Sherlock Holmes for more). Quoting the film, and reminding us of Moriarty's own international business deals to "own war" so he could gain even more power and money, creates a bridge with SPECTRE (I have all ready seen people comparing it to HYDRA from Captain America: the Winter Soldier). This offers another piece of the platform for my thesis about Bond's father and mother being murdered.
Why a ring? A ring is a sign of a covenant, which is far more binding than a legal agreement. The person to whom the ring belongs(ed) was utterly committed to the ends and purpose of SPECTRE. Why an octopus? An octopus has multiple arms, a symbol of an organization, like SPECTRE, having interests in lots of different areas of world trade and politics. An octopus is intelligent, and evil always prides itself on how superior it is to those who fight for the good. Another unique feature of the octopus is its ability to use "ink" to protect itself: this "ink" might be in the form of corrupt officials SPECTRE has working for it, the press and media, or in the way that, when ever someone starts to get close, like the octopus, they throw up a kind of smoke screen so they can't be seen. SPECTRE uses an octopus like Marvel's international criminal organization, HYDRA.
Bond's father traditionally worked for the Vickers armament company, rather like some of the people we see being murdered by Moriarty in A Game Of Shadows so he can buy their company/stock and control it. If Bond's father was in the know about a new weapon, or could influence the sale or lack of a sale of weaponry or something of that sort, a powerful person such as Oberhauser would look at his blood as cheap to protect his own interests and plans. Once again, this is my conjecture, however, it does fit nicely within the layers that are collating between Skyfall and Spectre. Just as this scene began with the voice over of Mr. White, so the next scene uses our sense of hearing as well.
This is truly a beautiful shot. This is a funeral scene, just recently filmed (like within the last week) in Rome. It's safe to call this monochromatic, because of the lightness of the off-white stone and the universal darkness of the mourners, so there is something about the death of whoever is being mourned in this scene which we should consider in the abstract, like Bond's prints in his flat. Spatially, in the lower image, we can see a different approach, beyond the color. At the far back is the cross, and in the extreme foreground is Bond; in between the cross and Bond is Lucia Sciarra (Monica Bellucci)  and the priest. She is, literally, caught between heaven and Bond. Here is an interesting note, however: this is Rome, so this is a Catholic ceremony, but there is no body of Jesus upon the cross, in other words, it's a cross but not a Crucifix. Where is the body of Jesus? This might be a symbolic omission, not a religious one, but a literary one, in that the person who died is the Jesus-figure in the film, or Bond himself (this would echo Bond's living room table that had the bulldog figurine on one end and Bond's beverage on the other; in this scene, the cross is on one end, and Bond on the other). What do we know about Lucia? Like most Bond girls, her name is full of meaning: "Lucia" is Latin for light; "Sciarra" is Sicilian for quarrel, or dispute, so it's possible that an argument she is in, or that Bond gets in with her, will bring light to the siuation (even giving him the name of Mr. White). Last but not least, we are at Bond's back in this shot, as we are in the last scene when Oberhauser greets him, when Eve gives him the Forensics file, when he's boating towards the cold, snow-covered shore to talk to Mr White; why? A person's back is there most vulnerable position, and it could be that Bond is at his most vulnerable in this film. 
When we see the funeral scene (picutred just above) there are some deep chords we hear in the background, echoing the Bond theme song; as the scene changes from Mr. White to the building where we see Oberhauser, welcoming James, we hear the same chords, but on a much higher octave, almost as if someone is tapping out the notes upon a water glass to garner the attention of the crowd. Why? The deeper notes are the undercurrents of a film, and the higher notes the cresting waves we see on top of the water, that is, the scenes not only support each other, but also echo each other, what we see in one scene is going to be intricately tied to the next scene, not just in terms of narrative and action, but symbolic importance as well (music is abstract, so the abstraction of the notes is being used to convey the abstraction of the symbols and meaning).
Now, Oberhauser.
On the left is an image we have just looked at this week of Ethan Hunt (Tom Cruise) in Mission Impossible 5: Rogue Nation, when Hunt is being gassed in a listening booth; in the middle are the documents of guardianship from Spectre, and on the right is Oberhauser's (Christoph Waltz) silhouette at the end of the trailer. What do the three of these images have in common? Two things. First, The dissolution of identity. With the gas surrounding Hunt and drowning out his features, we can tell that the enemy, The Syndicate, is using it to make him one of them (please see Mission Impossible V: Rogue Nation for more). The burned documents, in the middle (again, we aren't sure if the burn marks come solely from the explosion we saw in the last film, or if there was some prior damage) display the burn signs as a means of dissolving the most important transition that took place in Bond's life, that from "Master James Bond" to orphan James Bond. The last image, Oberhauser, shows his identity dissolved, even as we are seeing him for the first time (rather like the evil Emperor in Star Wars: Return Of the Jedi). Oberhauser "mirrors" the burn marks: there is a "burn mark" (the dark shadow) over his face, and the dark shadow on the table (likewise, there is the darkness behind Mr. White that we saw in the image above). The second issue is erasure. There is something there, but what is there isn't sufficient to explain what needs explaining, in this case, what is happening to the very essence of a person's identity. We saw the same kind of issue in Van Helsing with Hugh Jackman and Kate Beckinsale. Van Helsing lost his memory and "needed" Dracula to help him remember so he would know who he was/is; we can same the same of James Bond needing to know Oberhauser to know who and what Master James Bond is. Why? James has obviously been fighting something his whole life, and searching for something, keeping him from developing a real "bond" with anyone (even, arguably, with Vesper, because had Bond truly had a "bond" with her, he would have been able to save her, but--from the perspective of the universe--she wasn't good enough for him, just as M (Dench) wasn't a good enough "mother" for him and so they both died so better women could be brought into his life. In order to be whole, James Bond needs to know who he was, what happened to him, why it happened, and what it is he is going to do about it; Oberhauser, then, is the key to Bond unlocking Bond, and until he does, he has these "erasure" marks within his soul, upon his identity, like amnesia. 
Again, we see Oberhauser's name on the Temporary Guardianship papers at least two times (and we know from the Bond canon that Oberhauser taught Bond how to ski and later was killed in the short story Octopussy) so what do we make of him? "Welcome, James. It's been a long time. And finally, here we are." What does this mean? "Welcome" refers to Oberhauser's expecting Bond to show up and that Oberhauser isn't the least bit worried that the world's most formidable spy has made his way into his deepest, darkest lair. "James," illustrates the familiarity between them: Oberhauser is German, and Germans have two forms of address in their language, the formal (for people they don't know well, or to whom they want to show respect) and the informal for people they know intimately; calling him "James" demonstrates a level of intimacy, in spite of, as Oberhauser says, how long it's been since they have seen each other; or is that what he says?
What does it mean that there is the pitcher of water and glass there at his right hand? As pointed out above, Oberhauser was Bond's ski instructor when he was growing up, and--as we discussed above--water has three states: frozen, gaseous, and liquid. Having taught Bond how to "handle" himself and navigate around danger on the (frozen) ski slopes, now he has the water beside him, suggesting that Oberhauser isn't finished teaching Bond lessons. In this image, we can also see that Oberhauser is "blocking" Bond's path to the light: the light is behind Oberhauser (is this a reference to Lucia?) and in order for Bond to free himself of the same darkness that threatens Mr. White, he has to overcome the challenge/lesson (the pitcher of water) that Oberhauser is going to teach him this time around.
"It's been a long time, and finally, here we are." Is Oberhauser, rather than suggesting it's been a long time since the last time they saw each other (when Oberhauser was his guardian and they were skiing together), suggesting that it's been a long time since Bond was given the pieces of the puzzle, and, finally, he's just now figuring it out? Of course, I could be wrong, but I think it's this interpretation that Oberhauser means because or the inherent irony of the last line: "here we are."
Hoffler Klinic, Austria, where Lea Seydoux is a physician, Madeline Swann. The presence of the facility, as the presence of any mental health facility in any work of art would do, invokes the limits of the mind and the region of madness. Please note that the building is made entirely of glass, for "reflection" and "meditation," in the symbolic sense, surrounded by both water in the frozen state of snow, and water in the vapor state of the clouds (though not in this particular image). Note also the cross in the upper, right hand corner, like the cross we see in the funeral scene and the cross on the Tosca set in Quantum of Solace
We don't know exactly where "here" is, but I am confident it will be an interesting place, and probably a place we don't expect. "We" refers to Bond and Oberhauser, but "we" could also refer to Oberhauser and all his servants,.. and Bond. That part of "we" isn't as important as the identity of those included in "we," specifically, who Master James Bond is as a person, and who Oberhauser has pretended to be but really is, and, last but certainly not least, who Oberhauser is to Bond, in his psyche and heart. "Are," as in "Here we are," a verb in the immediate present tense that can end for either or both of them at any second; in this exact moment, both of them are still alive, but every second that passes could change that, as well as changing the person that each of them is as more and more is being revealed. Given all of them, I would like to posit a theory,...
This is really important, this is the deconstructive aspect of the trailer: SPECTRE stands for SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion, however, spectre also invokes a ghost, apparition or mountain reflection which we see on the left-side of the screen when Bond is boating towards the cabin, on his way to chat with Mr. White. Therefore, Bond isn't just dealing with an international crime organization, and he isn't just dealing with his own personal ghosts from the past, he is also dealing with an international crime agency that is itself a ghost with a haunting, destructive presence.
There is so much being implied by this trailer, as Skyfall was M's (Dench) dark past secret of a wrong she committed against Silva and there was hell to pay, Spectre might be about the dark past secret of a wrong committed against Bond, and now that someone is going to have hell to pay. Whatever secret Bond has, is so buried within his psyche, I would like to suggest that we MIGHT see Bond will fall asleep, and we will be able to deduce, from that, that all the events were a dream sequence of Bond's, though the film won't deliver itself like that. Bond knows something is wrong with himself, but he isn't capable of letting go of this secret that he has held onto for so long. Given that there is a mental health clinic appearing in the film, this increases the chances that Bond's psyche is going to be explored. Whatever happens, from this snippet, we can be fully confident that this will be a top-notch film, and perhaps even the very best Bond film ever made. It is scheduled for release in the UK October 30, and in the states November 6. For my posts on Casino Royale and Quantum of Solace, please see James Bond: Beyond Boundaries.
Eat Your Art Out,
The Fine Art Diner
The dis-jointedness of the letters in these two posters illustrates, graphically, how the two men are not properly "aligned" in their being because something has disturbed their mental state, and they need to get themselves re-aligned before they can go any further.