MI6 Confidential features Armstrong, Picker in new issue

David Picker

David Picker

MI Confidential is out with A NEW ISSUE that, among things, includes features on stuntman/second unit director Vic Armstrong and former United Artists executive David V. Picker.

Armstrong worked on the 007 film series in such films as You Only Live Twice and On Her Majesty’s Secret Service. He was interviewed for John Cork-directed documentaries about those movies, providing some behind-the-scenes perspective about how stunts were performed. From 1997-2002, Armstrong assumed the helm as stunt coordinator and second unit director for three Bond films starring Pierce Brosnan.

Picker was among the UA executives who reached a deal in 1961 with producers Albert R. Broccoli and Harry Saltzman to get the 007 film series started. His memoirs were published last year, including A CHAPTER ON THE BOND FILM SERIES.

Also included in the issue are stories about Lana Wood and her experiences filming Diamonds Are Forever and Ian Fleming’s taste in cars.

The price for MI Confidential No. 25 is 7 British pounds, $11 or 8.50 euros. For more information about the contents or to order, CLICK HERE.

Golden Gun’s 40th anniversary: 007′s sacrificial lamb

goldengunposter

Normally, we’d have waited to do a post about The Man With The Golden Gun’s 40th anniversary. But with this week’s passing of co-director of photography Oswald Morris, this is as good a time to examine the ninth James Bond film.

Let’s face it: Golden Gun doesn’t get a lot of love among James Bond fans or even professionals. It’s exhibit A when the subject comes up about 007 film misfires. Too goofy. Too cheap. Too many of the crew members having a bad day.

Over the years, Bond fans have said it has an average John Barry score (though one supposes Picasso had average paintings). It has too many bad gags (Bond watches as two teenage karate students take out a supposedly deadly school of assassins). And, for a number of first-generation 007 film fans, it has Roger Moore playing Bond, which is bad it and of itself.

Golden Gun is a way for fans to establish “street cred” — a way of establishing, “I’m not a fan boy.” The 1974 film is a way for the makers of 007 films to establish they’re really talking candidly, that not every Bond film has been an unqualified success.

The latter point is true enough. Golden Gun’s worldwide box office plunged 40 percent compared with Live And Let Die ($97.6 million versus $161.8 million, according to THE NUMBERS website). Within a few weeks of its December 1974 U.S. release, United Artists hurriedly paired Golden Gun with Thunderbolt and Lightfoot, which UA released earlier in 1974, to make a double feature.

In terms of long-term importance, Golden Gun was the finale of the Albert R. Broccoli-Harry Saltzman 007 partnership. Saltzman would soon be in financial trouble and have to sell out his share of the franchise to United Artists. In a way, things have never really been the same since.

This is not to argue that Golden Gun is the best offering in the Eon Production series. Rather, in many ways, it’s the runt of the litter that everybody likes to pick on — even among the same people who’d chafe at criticism of their favorite 007 film.

The documentary Inside The Man With The Golden Gun says the movie has all of the 007 “ingredients.” Of course, such a documentary is approved by executives who aren’t exactly demanding candor. But the statement is true. It has not one, but two Oscar winning directors of photography (Morris and Ted Moore); it has a score by a five-time Oscar winner (Barry); it is one of 13 007 movies Richard Maibaum contributed writing.

Then again, movies sometimes are less the sum of their parts. It happens. Not everyone has their best day.

For many, Golden Gun is a convenient piñata. Despite some positives (including a genuinely dangerous driving stunt), it’s never going to get much love in the 007 community.

Wilson & Broccoli, an appreciation

Barbara Broccoli and Michael G. Wilson

Barbara Broccoli and Michael G. Wilson

Michael G. Wilson and Barbara Broccoli, the co-bosses of Eon Productions, are scheduled to get an award from the Producers Guild on Jan. 19. The half-siblings this week were featured in a write-up on Variety.com previewing the event.

Evaluations of second-generation business leaders (and running the Bond franchise qualifies as a business) can vary. Occasionally, the second-generation outshines the first (think Thomas Watson Jr. of IBM). Sometimes, the second generation’s ambitions are frustrated by the first (think Edsel Ford). Sometimes, the second generation can make its own mark that’s simply different than the first (think Richard D. Zanuck).

In any case, it can be a balancing act. In the case of the 007 franchise, Albert R. “Cubby” Broccoli was a co-founder and a showman. His stepson and daughter succeeded him in the 1990s but had entirely different styles.

Wilson and Broccoli’s main accomplishment may have been to deal with changing executive regimes at Metro-Goldwyn-Mayer. Albert Broccoli and Harry Saltzman initially had the support of a firmly entrenched group of executives at United Artists, including Arthur Krim, Robert Benjamin and David Picker. That began to change in the 1970s (and after Saltzman departed the series). MGM acquired UA in the early ’80s and changes in the executive suite accelerated.

Also, Wilson and Broccoli were handed the reins in the midst of a six-year hiatus that might have killed the series. In the 21st century, MGM went through bankruptcy, another time of uncertainty.

Wilson and Broccoli may not have the publicity flair that Albert R. Broccoli had. Wilson has his P.T. Barnum moments, where his statements don’t always square with each other. Barbara Broccoli can rely on a few catch phrases such as “the money’s on the screen.”

Still, the pair remain in charge of the Bond franchise, which will result in the start of production of Bond 24 later this year.

Our modest proposal for a James Bond-related movie

Ian Fleming, Harry Saltzman and Albert R. Broccoli

Ian Fleming, Harry Saltzman and Albert R. Broccoli

This weekend in the U.S., Saving Mr. Banks, a telling of the behind-the-scenes turmoil during the making of 1964′s Mary Poppins, is out. Generally, movie makers love to make movies about their industry. So why not a movie based on how James Bond made it to the screen?

There certainly were moments of drama that occurred before 007 made it to the screen in 1962′s Dr. No. The meeting where Irving Allen, then the partner of Albert R. Broccoli, ridicules the Bond novels to Ian Fleming’s face. The ticking clock as Harry Saltzman strained to make a deal with a studio before his six-month option on the bulk of the 007 novels expired. How the producers and United Artists wrangled about who to cast to play Fleming’s gentleman agent with a license to kill.

Such a project likely would face complications. It’d be easiest for Metro-Goldwyn-Mayer in partnership with Sony. Saving Mr. Banks was released by Walt Disney Co., which meant it was no problem to use clips from Mary Poppins in a sequence about the movie’s world premier. However, an MGM-Sony combo would need to proceed cautiously, not wanting to alienate Eon Productions, which actually produces the 007 movies.

One possible vehicle to do a “being the scenes of 007″ movie would be to acquire the screen rights of one-time United Artists executive David V. Picker’s memoir, which includes a chapter on the Bond movies and how they came to be. One possible scenario for a movie would be show how things came to be through Picker’s eyes.

Don’t hold your breath for such a movie (or even TV movie). But it would have the potential to be an entertaining film.

Peter O’Toole dies; his minor 007 connection

A pair of Peters: Sellers and O'Toole in 1967's Casino Royale

A pair of Peters: Sellers and O’Toole in 1967′s Casino Royale

Peter O’Toole has died at 81. His stellar career included one very, very minor James Bond connection: an unbilled cameo in producer Charles K. Feldman’s 1967 Casino Royale spoof.

We’d try to explain, but it’s really not worth it. Feldman signed up a lot of famous actors for his over-the-top comedy. The producer opted to go the spoof route after being unable to cut a deal with Albert R. Broccoli (a former employee) and Harry Saltzman, who held the film rights to the bulk of the Ian Fleming 007 stories.

O’Toole in various obituaries (including THE GUARDIAN, VARIETY and THE HOLLYWOOD REPORTER) understandably emphasized his role as the title character in Lawrence of Arabia.

That 1962 film, directed by David Lean, had a crew that would have a greater impact on the film world of James Bond: director of photography Freddie Young (You Only Live Twice), camera operator Ernie Day (who’d be a second unit director on The Spy Who Loved Me and Moonraker) and special effects man Cliff Richardson, the father of John Richardson, who’d work special effects on several Bond movies.

Also, Spy’s composer, Marvin Hamlisch, included a snippet of Maurice Jarre’s main theme for Lawrence for a scene set in the Eyptian desert.

MI6 Confidential’s new issue teases Moore’s debut as 007

Separated at birth: MI6 Confidential's cover image...

Separated at birth: MI6 Confidential’s cover image (featuring a flipped image of a Live And Let Die publicity still used for Sir Roger Moore’s book about the filming of Live And Let Die)…

MI6 Confidential has teased the content of its next issue, which includes a cover celebrating the 40th anniversary of Roger Moore’s debut as 007 in Live And Let Die.

According to the magazine’s WEBSITE, the new issue’s contents include:

– Becoming Bond – Sir Roger Moore reflects on his casting and time as 007
– No Kind Of Doomsday Machine – Hilary & Steven Saltzman celebrate Harry’s work
– In Deep Water – Peter Lamont recounts recceing and shooting Live And Let Die
– A Perfect Match – On the bond between 007 & Aston Martin throughout the decades

...and an U.N.C.L.E. first-season image

…and an U.N.C.L.E. first-season image featuring Ian Fleming’s other spy, Napoleon Solo, a name Ian Fleming Publications used without mentioning the connection to the TV show

– Origins Of The Aston – A rare Aston Martin that may have inspired Ian Fleming
– On The Trail Of 007 – Retracing 007’s route through Kent countryside in ‘Moonraker’
– Boyd Is Bond – A report from the star-studded launch of the new book, ‘Solo’
– The Bond Connection – Reliving the on-screen espionage of Saltzman’s Harry Palmer

The price is 7 British pounds, $11 or 8.50 euros, not including postage and handling. For more information about ordering, CLICK HERE.

The polarizing history of Kevin McClory

Kevin McClory's cameo in Thunderball

Kevin McClory’s cameo in Thunderball

Kevin McClory could always stir emotions among James Bond fans.

In the early 1980s, some fans viewed him as a hero. He had stood up to Bond producer Albert R. Broccoli and had helped bring an alternate version of 007 to the screen. It would have Sean Connery back in the role and show Eon what Bond movies should be.

Over the past 15 years, some fans (on Internet message boards and the like) have been vocal in casting McClory as, at best, a pest and at worse a villain who helped drive Ian Fleming to an early grave.

The more complicated truth has been the subject of books such as The Battle for Bond.

In short, McClory had worked on a Bond movie project in the 1950s. Ian Fleming was involved. The heavy lifting on the script was done by writer Jack Whittingham. When a film didn’t materialize, Fleming based his Thunderball novel on at least some of the screen material. McClory sued and, in a settlement, got the screen rights.

McClory entered an agreement with Broccoli and Harry Saltzman to make Thunderball. McClory even had a cameo in a casino sequence.

As part of the deal, McClory had to wait 10 years before doing anything more with his rights. When that time was up, the Broccoli-Saltzman partnership had ended and the Eon Productions 007 series was in flux. Court fights ensued between McClory and Broccoli. It would take several years, but finally Never Say Never Again, a Thunderball remake, came out in 1983.

It was during this period that McClory was hailed by some fans, particularly those who felt the Eon 007 films with Roger Moore had gone too light. In the end, Never did OK at the box office but not as well as Octopussy, Eon’s 1983 007 entry.

Years passed and McClory kept trying anew to start his own Bond series. Eventually, if you took a look around 007 Internet outlets, fans complained about McClory, wondering why he just couldn’t go away — especially during court fights in the 1990s.

The MI6 007 website has a story 10 NEGATIVE WAYS KEVIN MCCLORY AFFECTED THE 007 FRANCHISE, summing up the anti-McClory case.

McClory died in 2006. His family and estate have sold whatever rights he had held to Metro-Goldwyn-Mayer and the Broccoli family. The move brings an end to McClory’s polarizing 007 history.

1964: Broccoli and Saltzman try to derail U.N.C.L.E.

Albert R. Broccoli and Harry Saltzman

Albert R. Broccoli and Harry Saltzman

By early 1964, post production was underway on the pilot for Solo. On Jan. 7, composer Jerry Goldsmith recorded his score, according to Craig Henderson’s U.N.C.L.E.-007 Timeline. But things would shortly get bumpy for Norman Felton’s production.

Toward the end of January, The New York Times ran an article about spy-oriented pilots, including Solo. In early February, Albert R. Broccoli, co-boss of Eon Productions, which made the 007 films, had had enough. Here’s how the Henderson website describes it:

Tuesday, Feb. 4, 1964
Cubby Broccoli telephones Sam Kaplan of Ashley-Steiner, telling Kaplan he intends to sue Arena, Felton and all others connected with Solo for violating Broccoli’s and Saltzman’s rights to the James Bond stories, referring specifically to the Jan. 26 New York Times story.

Ian Fleming hadn’t been involved with Solo since June of the previous year. The author signed away his rights under pressure from Broccoli and Harry Saltzman, the other co-head of Eon. The name Napoleon Solo had been one of his few contributions to make it to the final product of the U.N.C.L.E. pilot..

Still, it appears Broccoli couldn’t stand U.N.C.L.E. In his later years, in ill health, Broccoli worked on an autobiography that wouldn’t be published until after his death. Here’s how he described U.N.C.L.E.:

MGM came in with The Man From UNCLE, which was a straight steal from Fleming’s use of acronyms like SMERSH and SPECTRE.

When The Snow Melts, the autobiography of Cubby Broccoli with Donald Zec, 1998, page 199

Of course, Smersh wasn’t an acronym and Fleming was involved with U.N.C.L.E. from October 1962 until June 1963. Nothing had been stolen from Fleming (though he signed away his rights for a mere one British pound). Also, it was pretty easy to tell Napoleon Solo, suave U.N.C.L.E. agent apart from Mafia boss Solo in Fleming’s Goldfinger novel and Eon movie.

None of that mattered. Again, an excerpt from the Henderson website:

Wednesday, Feb. 19, 1964
New York law firm for Saltzman and Broccoli sends cease-and-desist letter to Felton, MGM, NBC and Ashley-Steiner demanding immediate end to use of Fleming’s name in connection with planned Solo series — and end to all use of name and character “Solo,” “Napoleon Solo” and “Mr. Solo,” claiming theft of the “Mr. Solo” character in Goldfinger, which Eon is currently filming.

By April, the two sides agree Solo won’t be the title but the Napoleon Solo name is retained for the television series. NBC picks up the series to debut the following fall.

In May, the new series title ends up being The Man From U.N.C.L.E. By that time, first drafts of series scripts have been written. The first draft for an episode to be called The Double Affair refers to the villainous organization as MAGGOT. The name is later changed to Thrush, which had been the choice of Felton and Sam Rolfe, the writer of the pilot, all along.

U.N.C.L.E. is now on its way to becoming reality. But more changes await before the cameras roll on the early episodes of the show.

CRAIG HENDERSON’S U.N.C.L.E. BOND TIMELINE FOR 1964

Earlier posts:

JUNE 1963: IAN FLEMING SIGNS AWAY HIS U.N.C.L.E. RIGHTS

MAY 1963: IAN FLEMING CRIES U.N.C.L.E.

RE-POST: From Russia With Love’s 50th: legacy

Sean Connery in a From Russia With Love publicity still

Sean Connery in a From Russia With Love publicity still

Originally published Sept. 18, the last of a four-part series. Reprinted today, the actual anniversary.

From Russia With Love, the second James Bond film, remains different from any 007 adventure since.

It’s the closest the Bond series had to a straight espionage thriller. The “McGuffin” is a decoding machine. That’s important in the world of spying but the stakes would be much larger in future 007 adventures: the fate of the U.S. gold supply, recovering two atomic bombs, preventing nuclear war, etc.

From Russia With Love includes memorable set pieces such as the gypsy camp fight between Bulgarians working for the Soviets and the gypsies working for MI6′s Kerim Bey as well as Bond dodging a helicopter. But they’re not the same scope compared with what would be seen in future 007 films. No underwater fights. No giant magnets snatching cars from a highway. No death-dealing satellites. Even when Bond movies such as For Your Eyes Only and The Living Daylights tried to have From Russia With Love-like moments, they still had larger action sequences.

From Russia With Love is by no means a small, “indie” film. It’s just different compared with what producers Albert R. Broccoli and Harry Saltzman, and their successors, would offer in future 007 installments. Perhaps that’s why some fans keep coming back to view From Russia With Love again and again.

From Russia With Love also introduced stylistic changes to the Bond series, particularly with the beginning of the 007 pre-credits sequence. It also had an actual title song, unlike Dr. No. However, the main titles used an instrumental version (plus an arrangement of the James Bond Theme). The vocal, performed by Matt Monro, is briefly heard during the film and isn’t played in its entirety until the end titles. Finally, the movie was the first time Eon Productions revealed the title of the next 007 adventure in the end titles.

From Russia With Love also demonstrated that Dr. No wasn’t a fluke. If Sean Connery as Bond had been a diamond in the rough in Dr. No, he was now fully polished in his second turn as Bond. At the box office, From Russia With Love was an even bigger hit with audiences than Dr. No.

The 1963 007 outing proved once and for all the judgment of Broccoli and Saltzman — the odd couple forced by circumstances to join forces — that Bond had major commercial potential. The likes of Irving Allen (Broccoli’s former partner who hated Ian Fleming’s novels) and Columbia Pictures (which had the chance to finance Dr. No only to see United Artists do the deal) had egg on their faces.

Nearly a half-century later, From Russia With Love is often in the conversation among fans (particularly older ones) as among the best of the Bond films. It also ensured the series would continue — though nobody realized how big things would get.

THE END…NOT QUITE THE END…JAMES BOND will return in the next Ian Fleming thriller “GOLDFINGER.”

Funeral in Berlin gets new U.S. DVD release

Len Deighton and Michael Caine

Len Deighton and Michael Caine

Funeral in Berlin, the second Harry Saltzman-produced film based on Len Deighton’s spy novels and starring Michael Caine, is now available in a new DVD release in the U.S. through Warner Bros.’s Warner Archives.

Saltzman, co-founder of Eon Productions, producer of the James Bond film series, had ambitions beyond the 007 movies. At the same time, Saltzman summoned 007 film veterans to work on his Deighton-based films.

With 1966′s Funeral in Berlin, Saltzman hired Guy Hamilton, who helmed Goldfinger, as director. Also on board was Ken Adam as production designer and Peter Murton as art director. Other films in the series employed John Barry, Peter Hunt and Maurice Binder.

Warner Archive specializes in “manufactured on demand” (or MOD); the DVDs are made as they’re ordered and the sets aren’t available in stores. Warner Bros. has used Warner Archive for home video releases of properties in the vast WB library, including THE GIRL FROM U.N.C.L.E. and THE FBI television series.

The price for Funeral in Berlin is $18.95 plus shipping and handling. For more information on ordering, CLICK HERE.

For more information, you can view the IMDB.COM pages for:

1965′S THE IPCRESS FILES

1966′s FUNERAL IN BERLIN

1967′s BILLION DOLLAR BRAIN

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