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.