Dr. No’s 50th anniversary part V: Ken Adam’s magic

Professor Dent (Anthony Dawson) gets his instructions from Dr. No on a Ken Adam-designed set.

Dr. No, the first James Bond film, had a modest $1 million budget. Ken Adam, the movie’s production designer, performed some magic that disguised that fact, making the film look more expensive than it really was. In doing so, the designer helped make James Bond’s world a special one.

Adam’s work on the initial 007 film included Dr. No’s living quarters, a mix of modern and antique; a mostly empty room with a large circular grille in the roof where an unseen Dr. No (Joseph Wiseman) provides instructions to his lackey Professor Dent (Anthony Dawson); and Dr. No’s control room, complete with nuclear reactor, perfect for any ambitious villain.

Adam’s work had an immediate effect: director Stanley Kubrick snatched Adam up to work on Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. In that capacity, Adam’s sets included the Pentagon “war room.” That image has been said to prompt Ronald Reagan, upon becoming U.S. president in 1981, to inquire about seeing the place (CLICK HERE to see a 2001 story in the The Guardian that references this or CLICK HERE for a 2009 review of the movie that also makes mention of it.)

Ken Adam


In any case, 007 producers Albert R. Broccoli and Harry Saltzman, after having to forgo Adam’s services for From Russia With Love, made sure the designer was on board for Goldfinger. Adam’s sets got more elaborate. Some had moving sections, such as the room Goldfinger describes his plans to raid Fort Knox. Of course, there was the interior of Fort Knox itself.

Adam’s work influenced other ’60s spy movies. Films such as Kiss the Girls and Make Them Die and The Ambushers had scenes where a villain has quarters with moving sections. Adam, though, got more money to play with than his rivals, coming up with the Disco Volante (where a lead hydrofoil could separate from the rear section of the craft) in Thunderball and Blofeld’s volcano headquarters in You Only Live Twice.

Adam (b. 1921) was already a veteran designer when Dr. No came along. He helped make Bond movies special. Adam has worked on less than one-third of the Eon Productions-produced Bond movies and his last 007 credit was 1979’s Moonraker. But his work still stands out and remains the standard others are judged by.

NEXT: Legacy

Dr. No’s 50th anniversary part IV: `The Elegant Venus’

For their first 007 film, producers Albert R. Broccoli and Harry Saltzman faced a challenge. Ian Fleming had provided a memorable introduction for Honeychile Ryder in the Dr. No novel.

Ursula Andress as part of her entrance in Dr. No.


The first time Bond sees the novel’s heroine she’s “not quite naked. She wore a broad leather belt around her waist with a hunting knife in a leather sheath at her right hip.” Agent 007 is reminded of “Botticelli’s Venus seen from behind.” The title of chapter is “The Elegant Venus.” The task for Broccoli and Saltzman was to find somebody who live up to that title.

The producers cast Ursula Andress. Director Terence Young staged her first appearance, coming out of the Carribean in a bikini, rather than naked as in the novel. The scene is one of the most commented aspects of the movie. Young’s technique was simple. Andress (dubbed by Monica Van der Zyl) walks out of the sea, singing Underneath the Mango Tree. There are no fancy camera angles: first a long shot of Andress, followed by a reaction shot of Sean Connery as Bond, followed by a waist-high shot of Andress.

It doesn’t sound like much, but it made an impact on the audience. Honey doesn’t even appear until after an hour of screen time, but Andress, nevertheless, became the first major Bond woman in the series. As noted by the John Cork-directed Inside Dr. No, Ian Fleming was impressed by Andress, even dropping in a mention of the actress into his On Her Majesty’s Secret Service novel that he was writing as Dr. No was being filmed.

A half-century later, Barbara Broccoli, the current co-boss of Eon Productions, told the London Evening Standard: “And look at Ursula Andress [emerging from the sea in Dr No]. Yes, she’s the most stunningly beautiful person in the whole world but her look was very different to what had come before. First of all, she had a very athletic body, and she was also incredibly natural — no make-up, no false eyelashes. I think that image of natural beauty is one we appreciate.”

Contrast that with Die Another Day, the 40th anniversary Bond movie in 2002. Director Lee Tamahori tried to emulate the scene from Dr. No with Halle Berry’s Jinx wearing an orange bikini, rather than the white one Andress wore. Tamahori used a couple of slow-motion shots and Berry preens for a moment before she comes out of the ocean. The extra bells and whistles of that scene emphasize how it’s a copy, rather than an original.

NEXT: Ken Adam’s magic

1972: 007’s TV debut on The ABC Sunday Night Movie

United Artists re-released Goldfinger in the summer of 1972 as part of a triple feature a few months before it was shown on ABC.

With all the 007 anniversaries this year, one isn’t getting much attention: the 40th anniversary of the first U.S. television showing of a James Bond film when Goldfinger was shown on The ABC Sunday Night Movie.

ABC, which had obtained the TV rights for 007 films, decided to kick off the 1972-73 season with Goldfinger, the third movie in the series made by Eon Productions. ABC had promoted Goldfinger throughout the summer and especially during its broadcasts of the Summer Olympics in Munich, where 007 promos seemed to air every two hours, prior to the tragic kidnapping and murders of Israeli athletes. United Artists, moving to squeeze out money from one last theatrical run, had a triple feature of Dr. No, From Russia With Love and Goldfinger during the summer of 1972.

Finally, on the night of Sept. 17, 1972 (right after the eighth-season opener of The FBI), Goldfinger was broadcast to millions of homes in the U.S. Bond fans who’d seen the film in theaters were caught by surprise immediately. The classic 007 gunbarrel logo had been edited out by the network (though John Barry’s gunbarrel music arrangement remained). It would be the first in a series of changes and cuts ABC would make in the Bond movies.

The ABC broadcast of Goldfinger started at 9 p.m. New York time and ran (including commercials) until 11:15 p.m.. In future showings, ABC would take out the pre-credits sequence altogether and start with the main titles so the TV broadcast would run no longer than two hours.

Still, it was a new era. ABC was the U.S. television home for Bond into the early 1990s. ABC even had a last hurrah in 2002, when the network showed the first nine 007 films in the Eon series on consecutive Saturday nights. Today, with DVDs, streaming video, video on demand, etc., none of this sounds special. But, 40 years ago, it was a big deal when agent 007 was available for the first time in living rooms.

Dr. No’s 50th anniversary part III: `a pretty rough diamond’

Sean Connery chats with Dr. No co-star Jack Lord.

Producers Albert R. Broccoli and Harry Saltzman had $1 million of United Artists’ money to spend to bring Dr. No to the screen. That meant they couldn’t spend a fortune on their lead actor, the man who would personify James Bond. Their choice ended up themselves and the actor involved rich.

The choice, of course, was Sean Connery, 31 years old at the time Dr. No went into production. Ken Adam, in interviews for extras for 007 movie DVDs directed by John Cork, described him as “a pretty rough diamond” at that time. Broccoli, in his autobiography, used nearly identical phrasing: “…an uncut diamond at the time…Physically and in his general persona, he was too much of a rough-cut to be a replica of (Ian) Fleming’s upper-class secret agent.”

The Scotsman wasn’t a star, but he was already an experienced actor. He had acting credits extending back to 1954 (even if some of them were small parts, like on an episode of The Jack Benny Program or a secondary role in 1959’s Tarzan’s Greatest Adventure).

How much, or little, Connery was paid for Dr. No is in some dispute. Connery told Playboy magazine in a 1965 interview, he only received 6,000 British pounds, or $16,800. U.K film historian Adrian Turner, in his 1998 book on Goldfinger puts the figure at $40,000, in line with director Terence Young’s paycheck.

In Broccoli’s autobiography, a reproduction of a message sent from Broccoli to Saltzman appears. It says “New York,” a reference to UA’s New York headquarters, “did not care for Connery feels we can do better.” The UA executives would change their minds, especially once audiences had their chance to evaluate Connery as 007.

Connery was coached by Young in the ways of the Bondian lifestyle despite, according to Broccoli, the director preferred Richard Johnson in the role. Richard Maibaum, one of three credited screenwriters on Dr. No, said at a 1987 conference (the video is included in the DVD extra, The Thunderball Phenomenon) that Connery wasn’t exactly Ian Fleming’s James Bond and a rougher character.

“Our attributing to him all these gentlemanly qualifications and stuff was the cream of the jest,” Maibaum said a quarter-century ago. “It made it funny. It also made him instantly acceptable.”

Whatever the exact reason, the choice of Connery was a successful one. For the actor, it was the springboard to a legendary career. For the producers, it ensured more orders from United Artists for Bond movies. For many fans, Connery supplied an image of 007 that hasn’t been surpassed. Connery would have battles later with Broccoli and Saltzman (especially about money). But, a half-century ago, the choice of an unknown actor was proven right.

NEXT: The elegant Venus

Dr. No’s 50th anniversary part II: the $40,000 man

Terence Young, wearing a Turnbull & Asser shirt.

Terence Young is heralded for establishing the James Bond film style when he directed 1962’s Dr. No. It was he who got star Sean Connery, who grew up in modest circumstances, familiar with Saville Row suits, Turnbull & Asser shirts and how to navigate a wine list. By many accounts (such as the Inside Dr. No documentary directed by John Cork), that’s all true.

He was also nobody’s first choice for the job. Sometimes, screen legends are molded by the fourth (or even fifth) option.

According to Inside Dr. No, producers Albert R. Broccoli and Harry Saltzman wanted an English director. Three — Guy Hamilton, Guy Green and Ken Hughes — said no.

Meanwhile, according to British film historian Adrian Turner, United Artists had an American in mind: Phil Karlson, known for tight, efficiently made movies such as 1955’s The Phenix City Story. He also worked in television, including helming a two-part 1959 presentation of The Westinghouse Desilu Playhouse. The title? The Untouchables, which ended up launching the 1959-1963 television series.

Karlson’s agent asked for $75,000 to direct Dr. No and that took the American director out of the running, according to Turner. Meanwhile, Terence Young, who had directed films that Broccoli had made with former partner Irving Allen (The Red Beret/Paratrooper, Zarak and Tank Force) emerged as a candidate and snared the job. He received $40,000, according to Turner’s account in Adrian Turner on Goldfinger.

As it turned out, the $40,000 man and the subject matter were made for each other. In addition to his appreciation for the finer things in life, Young had been a tank commander in World War II. Thus, he had experienced danger for real. By the time Dr. No went into production, Young had 17 films as a director under his belt. He knew Ian Fleming’s Bond and worked to bring that to the screen.

Young would direct three of the first four films in the Broccoli-Saltzman 007 series, departing after 1965’s Thunderball. His record would include the 1967 thriller Wait Until Dark. But many of his other later films aren’t terribly well remembered (The Klansman and Inchon, among them).

Barbara Broccoli, now co-boss of Eon Productions, said in an interview published at Comingsoon.net that, “We’ve always wanted a director that would put a stamp on the movie, so we’ve never been one to hire directors for hire.”

Terence Young was a director for hire. His price for Dr. No was $40,000. It ended up being among the best-spent money in the history of the film series that celebrates its golden anniversary this year.

Meanwhile, CLICK HERE to view an obituary of Terence Young that originally ran in the fan newsletter For Your Eyes Only.

NEXT: “A pretty rough diamond”

Dr. No’s 50th anniversary part I: the odd couple

Albert R. Broccoli and Harry Saltzman

By mid-1961, there had been multiple attempts to adapt Ian Fleming’s James Bond to other media. A 1954 CBS adaptation of Casino Royale had become reality and was mostly forgotten. No film versions had yet gone before the cameras. That was about to change as American Albert R. Broccoli and Canadian Harry Saltzman agreed to team up. It’d be an eventful, and sometimes stormy, 14 years.

Each had something the other wanted: Saltzman had secured a six-month option on Fleming’s novels other than Casino Royale (and a court settlement would take the 1961-published Thunderball out of that package). Broccoli had studio connections that Saltzman lacked. Broccoli wanted to buy the option from Saltzman, but the latter wanted to go into business with Broccoli.

Saltzman, by multiple accounts, provided a constant flow of ideas. The quality, reportedly, was erratic but when they were good, they were brilliant. (Let’s have Bond “killed” at the start of From Russia With Love.) He could be volatile, almost killing off what would be two of the most popular title songs in the 007 series (Goldfinger and Diamonds Are Forever). Composer John Barry bemoaned in a 2006 U.K. television special that, “I could never deal with Harry and didn’t.”

Broccoli, by these accounts, was the steadier, more patient of the duo. He had wanted to do Bond for years before meeting Saltzman and was mostly content with 007, a large endeavor of its own. Saltzman, meanwhile, would launch a series based on Len Deighton’s spy novels and pursue other non-Bond projects.

Eventually, the producers grew apart, with Live And Let Die primarily a Saltzman production (although there are shots of Broccoli visiting locations and sets) while The Man With the Golden Gun was primarily overseen by Broccoli. The partnership would end when Saltzman, in severe financial trouble, sold his half of the franchise to United Artists, the studio that released the 007 films.

During work on 1962’s Dr. No, the producers managed to find a collaborative rhythm. James Bond probably would have come to the screen, but likely not in exactly the same form had Broccoli and Saltzman not joined forces.

For their work on Dr. No, the first 007 film, Broccoli and Saltzman received a producer’s fee of $80,000 and 50 percent of the profits, according to the 1998 book Adrian Turner on Goldfinger. The film debuted on Oct. 5, 1962, in the U.K., reaching other countries the following year.

If you CLICK HERE, you can view a 1965 interview the CBC did with Broccoli and Saltzman. At this point, Thunderball was about to be released.

Around the 14:00 mark, Saltzman has to take a call regarding a censorship issue with one of his non-007 movies. At the end, Saltzman works in a plug for his Harry Palmer films. You can view Broccoli’s expressions and draw your own conclusions about what the producer may have been thinking.

NEXT: The $40,000 man

The FBI season 3 now available on DVD

Warner Bros., as part of its Warner Archives program, has made season 3 of The FBI available on DVD.

Efrem Zimbalist Jr. as The FBI’s Lewis Erskine


By the 1967-68 season, The FBI had become a Sunday night fixture on ABC. It also became the flagship show of producer Quinn Martin after The Fugitive had ended its 1963-67 run. Still, the series had some retooling, including the first major casting change. William Reynolds, who had appeared twice previously as a guest star playing an FBI agent, was cast as Tom Colby, the new partner for star Efrem Zimbalist Jr.’s Inspector Lewis Erskine. Also, Norman Jolley, associate producer the first two seasons and an important writer for the show, would depart.

The FBI continued on, nevertheless, and included espionage-related stories in its mix. The show is part of the Warner Archives “manufacturing on demand” program where disks are produced in tandem with orders. Here’s the Warner Archives description:

Shortly before the Summer of Love signaled a radical shift in popular culture, the smartly dressed agents fought to keep the nation safe from a myriad of menaces both foreign and domestic. The FBI’s third season sees the nation’s enemies take a decided turn to the worst, with Colby and Erskine confronting bank robbers, blackmailers, saboteurs, defectors, embezzlers, accomplices, and yes, their victims. Bringing it all to vivid life is an array of stage and screen stalwarts and sirens like Phyllis Thaxter, Carol Lynley, Henry Silva, Kevin McCarthy, William Windom, Ed Asner, Martin Sheen, Anne Baxter, Bradford Dillman, Lynn Bari, Fritz Weaver, Robert Walke r and Suzanne Pleshette. Strap on your badge and fire up the Ford — your country needs you!

That last line is a reference to how Ford Motor Co. was the show’s major sponsor and supplier of cars. Anyway, if you’re interested, you can click HERE for the first half of season 3 and HERE for the second half. Each costs $29.95.

UPDATE (Sept. 20): Warner Archive uploaded previews clip to YouTube. Here they are:

Daily Mail says Craig to get $32 million for Bonds 24 and 25

Daniel Craig will get a combined 20 million pounds, or about $32 million based on conversion rates as of Sept. 9 for Bond 24 and Bond 25, according to the U.K Daily Mail, which didn’t specify how it obtained that information.

Daniel Craig with Jeffrey Wright in Craig’s 007 debut, Casino Royale.


The story (which you can view by CLICKING HERE) has this phrasing:

Craig, 44, who makes his third outing as 007 in Skyfall later this year, signed a deal last week which is expected to see him earn £10  million per picture.

What isn’t known is WHO expects this. The Daily Mail? Somebody else who knows the details? Assuming a contract was actually signed, Craig, Eon Production, Metro-Goldwyn-Mayer and Sony would actually know the amount involved.

The MI6 007 fan Web site reported last week that Craig was contracted for two more movies after the upcoming Skyfall. The Deadline entertainment news Web site in its story on the subject also reported that Sony Corp.’s Sony Pictures extended an agreement to co-finance 007 movies with MGM through Bond 25. That accord was originally set Skyfall and Bond 24.

007 updates: Skyfall score recording; MI6-Deadline spat

If you know where to look on Twitter, you can pick up on 007 related events. Some examples:

Skyfall’s score being recorded: The music for the 23rd James Bond movie has been recorded the past few weeks according to TWEETS BY TONY LEWIS, A MUSIC EDITOR. He hasn’t disclosed much. An Aug. 15 Tweet said, “It may feel like oct 26 is miles away but we’re on the home straight now 😉 it’s going to be massive. #skyfall” Oct. 26 is the U.K. release date. An Aug. 5 Tweet says, “Another great day at @AbbeyRoad – we’re so close now you can almost touch it. #SKYFALL”

In another Aug. 5 Tweet, Lewis responded to a question about what Thomas Newman’s score for the movie was like. Lewis’s response: “sadly not – NDA’s forbid me – all I can say is that it’s ace.” Presumably NDA is short for non-disclosure agreement.

MI6’s clash with Deadline: On Sept. 6, the MI6 James Bond fan Web site had a story that Daniel Craig had been signed for Bond 24 and 25. That story was cited by a number of Web sites, including THE HUFFINGTON POST.

A day later, the Deadline entertainment-news Web site said it confirmed Craig had signed for the two future 007 movies without mentioning the MI6 story. Later that evening, MI6 fired back FROM ITS TWITTER FEED. That Tweet read:

@NikkiFinke Another day, another Deadline story ripped without credit. You know where you heard it first…. Craig for Bond 24 & 25

Finke is founder and editor-in-chief of Deadline and co-author of its story of the Craig signing. Back in January 2010, Deadline was the first TO REPORT that Eon was negotiating to bring Sam Mendes aboard what would become Skyfall. Shortly after that, Mendes’ publicist confirmed the talks to a U.K. newspaper while the director denied it to The Wall Street Journal.

007 questions about the future of the film James Bond

“What? More questions?”


Some pretty big news week. The MI6 James Bond fan Web site said it had confirmed Daniel Craig would do two more 007 films after this year’s Skyfall. The Web site didn’t specify how it obtained the information, but it got picked up on other Web sites, including THIS ONE, THIS ONE and THIS ONE. Oh, and don’t forget THIS ONE. Even THE HUFFINGTON POST cited the MI6 story. (UPDATE: Nikki Finke’s Deadline entertainment news Web site said it CONFIRMED THE NEWS AND REPORTED THAT SONY WOULD CO-FINANCE BOND 25.)

Well, that got us to thinking and that, naturally, spurs us to ask these questions:

001. Which movie will be seen first: Bond 24 or Marvel’s The Avengers 2?: The Avengers has been the biggest hit of 2012 with $1.5 billion in worldwide ticket sales and Walt Disney Co. has already set a May 1, 2015, release date for a sequel. When will Bond 24 come out? Sony Corp. has said 2014 but Eon Productions co-boss Barbara Broccoli and star Daniel Craig have said NOT SO FAST.

002. If Bond 24 doesn’t come out in 2014, when will it come out? You’re guess is as good as ours. One of the main talking points of the Skyfall publicity campaign is the movie benefited from production delays (due to studio Metro-Goldwyn-Mayer’s bankruptcy) to fine tune the script. For an example, CLICK HERE. If so, would that be at odds with trying to restore the tradition every-other-year schedule that MGM and Sony Corp. (which is releasing Skyfall) want?

003. What are you trying to say? It’s one thing to say Daniel Craig will do two more films if the second is out in 2016. It’s another if the second is out in (for argument’s sake) 2020.

004. They won’t wait another four years to do Bond 24, will they? Let’s see if Eon co-boss Michael G. Wilson complains yet again about how exhausting it is to make James Bond movies. If a new set of Wilson quotes along this line surfaces late this year or in early 2013, it might be a sign that Bond 24 might not come out as soon as many fans would like. If that’s the case, when would Bond 25 come out?

005. Any possibility any more spoilers will come out before Skyfall’s premier? It depends whether the sountrack comes out before the film’s premier.

006. What does that mean? Well, Thunderball’s soundtrack came out in November 1965, a month before the “Biggest Bond of All” came out. One of the tracks was titled “Death of Fiona,” so that was a giveaway. Other titles on various 007 soundtracks included “Death of Grant,” “Death of Goldfinger” and “Death of Aki.” So a fan could get some clues if they purchase the soundtrack before the movie premiers.

007. Are you looking forward to Skyfall or not? Yes to the movie. Not so much to various talking points. It’s under 50 days before the U.K. premier and just over two months before the U.S. premier. Other than, say, seeing the final Skyfall trailer, we’d rather get on with it. In the end, it’s whether the movie is good or not.