What does ‘James Bond will return’ mean for Bond 26?

A former image for the official James Bond feed on Twitter

It’s inevitable. After the Daniel Craig version of James Bond was killed in No Time to Die, the Bond character will return somehow at some time.

But how?

Some possibilities follow.

Eon starts over — again: In Craig’s debut as Bond, Eon Productions did a reboot. That is, the series started all over again.

Since No Time to Die, Craig has claimed it was always his intention that his version of Bond would die in the end. Whether true or not, that’s how Craig’s five-film tenure played out.

Here is an excerpt from a Craig interview with the Los Angeles Times.

“Two things, one for myself and one for the franchise,” Craig said. “One, for the franchise, was that resets start again, which [the franchise] did with me. And I was like, ‘Well, you need to reset again.’ So let’s kill my character off and go find another Bond and go find another story. Start at [age] 23, start at 25, start at 30.”

However, until Eon shows its cards, there are other possibilities.

The code name theory rears its head: The code name theory refers to a way to explain how different actors (Sean Connery, George Lazenby, Roger Moore, etc., etc.) portray a character named “James Bond” while each actually is different.

The one time this notion was used occurred in the 1967 Casino Royale spoof. There was one “real” James Bond (David Niven) with multiple agents being designated as “James Bond.”

Hard-core Bond fans mostly despise this idea. But there are general movie fans who argue it’s a wonderful idea. Until Bond 26 gets sorted out, you can expect more of this stuff.

In fact, the Screen Rant website already has come out with a version of this notion.

One potential option for Bond 26 is to continue directly from the ending of No Time To Die. MI6 would be in mourning over the loss of James Bond, but international villainy waits for no one, and a replacement must be found. This new “James Bond” would then be recruited to replace Daniel Craig’s version, with explicit references to how their predecessor died saving the world from Safin and the Heracles weapon. This scenario would help preserve a semblance of continuity between James Bond movies, and also allow EON to think outside its usual box when casting Daniel Craig’s replacement.

We pretend the Craig era never happened: Eon’s Bond series had a very loose continuity from 1962-2002. When Sean Connery first departed the series in 1967, Bernard Lee’s M, Lois Maxwell’s Moneypenny and Desmond Llewelyn’s Q remained. Connery came back in 1971’s Diamonds Are Forever but Lee, Maxwell and Llewelyn remained.

Roger Moore came aboard in 1973, with Lee and Maxwell still present. Llewelyn came back as Q for Moore’s second outing in The Man With the Golden Gun.

With Bond 26, what happens with the Craig supporting cast? You could have Ralph Fiennes’ M, Naomie Harris’ Moneypenny and Ben Wishaw’s Q without any mention of the Craig version of Bond.

Conceivably, you pick up with the incredibly loose continuity of the 1962-2002 movies. Let’s move on, chaps.

Or not. Who knows?

Burt Bacharach dies at 94

Poster for Charles K. Feldman’s 1967 version of Casino Royale, featuring a Burt Bacharach score and songs by Bacharach and Hal David

Songwriter Burt Bacharach, with a long list of pop hits over the decades, has died at 94, the BBC reported, citing the musician’s publicist.

Bacharach scored the 1967 Casino Royale spoof produced by Charles K. Feldman. Bacharach and lyricist Hal David wrote the song The Look of Love for the movie. That was a hit for Dusty Springfield, with Bacharach and David getting a Best Song Oscar nomination.

The music and the songs were a major plus for an uneven comedy helmed by multiple directors. The story (such as it was) centered around multiple James Bonds, led by Sir James Bond (David Niven).

An excerpt from the BBC’s obituary about Bacharach’s career:

Over his career, he scored 73 Top 40 hits in the US and 52 in the UK, working with artists including Dionne Warwick, Frank Sinatra, The Beatles, Barbara Streisand, Tom Jones, Aretha Franklin and Elvis Costello.

His music touched multiple genres, from cool jazz and rhythm and blues, to bossa nova and traditional pop – but they shared one thing in common: you could recognise them within a couple of notes.

In 1974, Bacharach and Ann-Margaret presented the Oscar for Best Song. Live And Let Die had been nominated, but The Way We Were won. Bacharach won Oscars of his own, for Butch Cassidy and the Sundance Kid and Arthur.

Casino Royale’s 55th anniversary: Oh no, 007!

Adapted from a 2012 post

April Fool’s Day is as good as any occasion to note this month marks the 55th anniversary of Charles K. Feldman’s Casino Royale, the producer’s 1967 send-up of 007.

Feldman, one-time agent (Albert R. Broccoli was one of his employees) turned producer, was nobody’s fool. He had produced films in a variety of genres such as 1948’s Red River (uncredited), 1951’s A Streetcar Named Desire, 1955’s The Seven Year Itch and 1965’s What’s New Pussycat.

So, when he acquired the film rights to Ian Fleming’s first 007 novel in the early 1960s, Feldman recognized it had commercial potential even as the film series produced by one-time associate Broccoli and Harry Saltzman was getting underway in 1962.

Feldman tried to entice director Howard Hawks, his one-time colleague on Red River. Hawks was interested but the director backed out after seeing an early print of Dr. No with Sean Connery.

Feldman pressed on, signing distinguished screenwriter Ben Hecht to come up with a screenplay. Details of Hecht’s work were reported in 2011 by Jeremy Duns in the U.K. Telegraph newspaper. Hecht died in 1964, while still working on the project. In 2020, Duns uncovered additional details about an attempt by Joseph Heller to adapt Fleming’s first novel.

By the 1960s, Eon’s series was reaching its peak of popularity with 1964’s Goldfinger and 1965’s Thunderball. Broccoli and Saltzman agreed to a co-production deal with Kevin McClory, holder of the film rights for Thunderball.

James Bond, The Legacy, the 2002 book by John Cork and Bruce Scivally, presents a narrative of on-and-off talks between Feldman, Broccoli, Saltzman and United Artists, the studio releasing the Broccoli-Saltzman movies. In the end, talks broke down. (Behind the scenes, Broccoli and Saltzman had their own tensions to deal with, including Saltzman’s outside ventures such as his Harry Palmer series of films.).

So Feldman opted to go for farce, but not in a small way. His movie had an estimated budget, according to IMDB.com. of $12 million. The Cork-Scivally book put the figure at $10.5 million. Either way, it was more than the $9.5 million budget of You Only Live Twice, the fifth entry in the Broccoli-Saltzman series. Twice’s outlay included $1 million for Ken Adam’s SPECTRE volcano headquarters set.

Feldman’s film didn’t have that kind of spectacle. But he did pay money (or Columbia Pictures’ money) for talent such as John Huston (one of five credited directors), David Niven (playing the “original” James Bond, brought out of retirement, who implies the Sean Connery version of the Broccoli-Saltzman series was assigned the James Bond name by MI6), Peter Sellers, Orson Welles, Ursula Andress (now famous because of Dr. No), William Holden, Woody Allen and….well CLICK HERE to view the entire cast and crew.

Casino Royale, however, was less than the sum of its impressive parts. The humor is uneven, it doesn’t really have a story, despite employing a number screenwriters, including Wolf Mankowitz, who introduced Broccoli and Saltzman to each other.

The’67 Casino managed a reported worldwide gross of $41.7 million. That was good in its day, though less than a third of Thunderball’s $141.7 million global box office.

Much has been written since 1967 about the stressful production, including reported feuds between Sellers and Welles. Perhaps all that took a toll on the film’s producer. Feldman died in May 1968, a little more than 13 months after Casino Royale’s premier. He was 64.

Bond 26 questions: Bond’s return

Image for the official James Bond feed on Twitter

Spoiler for No Time to Die

At a recent event sponsored by the Deadline entertainment news site, Eon Productions boss Barbara Broccoli said Eon has yet to figure out how James Bond will return after the events of No Time to Die.

By the end of the 25th Bond film, Bond has been blown to smithereens and other characters are in mourning. Yet, in the end titles, it says “James Bond Will Return.”

“We’ll figure that one out, but he will be back,” Broccoli said. “You can rest assured James Bond will be back.”

Naturally, the blog has questions.

Another reboot?

This would be the easiest route. With 2006’s Casino Royale, Eon started things over. Eon finally had its hands on the rights to Ian Fleming’s first Bond novel. So one continuity ended after Eon dismissed Pierce Brosnan, another began after it brought on Daniel Craig.

Having multiple continuities is not unprecedented. Look at Warner Bros. and its various Batman movies.

Four movies from 1989 through 1997 were one continuity (multiple actors played Batman but all four had the same actors as Alfred the butler and Commissioner Gordon). Films from 2005 through 2012 were another continuity. And various films with Ben Affleck as Batman comprise yet another continuity. Now, yet another continuity is in works with Robert Pattinson as Batman.

If you’re a fan of Daniel Craig’s Bond films, you can’t complain about reboots. Yes, Eon fudged things at times, primarily with the Aston Martin DB5. But a new reboot may be the way to go.

What about the “code name theory”?

That would be another way to go.

For the uninitiated, the “code name theory” is a way of explaining all the different actors who’ve played Bond in the Eon series. Under this scenario, “James Bond” is a code name assigned to different people.

Screenwriters Neal Purvis and Robert Wade have said there’s only one Bond, just played by different actors. Besides, 007 is Bond’s code number. Why does he need a code name on top of that?

Nevertheless the “code name theory” refuses to die. It traces its origins to the development of the 1967 Casino Royale spoof produced by Charles K. Feldman. The original James Bond (David Niven) orders all British agents to be named “James Bond” to confuse enemies. This notion may be the 1967 movie’s legacy.

You’re not serious, are you?

To be clear, I am NOT advocating for it. However, “code name theory” would be one way to retain Ralph Fiennes as M, Naomie Harris as Moneypenny, Ben Whishaw as Q and Rory Kinnear as Tanner.

What would be the drawbacks?

A new Bond actor would be burdened by the Craig continuity. Remember, Craig’s Bond was burned out from Skyfall on. Personally, I would start fresh with a reboot. You DO NOT have to another Bond origin story. Just introduce your new Bond and go from there.

Sean Connery’s Bond never had an origin story. That worked out pretty well.

Jeremy Duns discusses scripts for 1967 Casino Royale

Jeremy Duns

Writer Jeremy Duns over the past nine years has researched the James Bond work performed by journalist-screenwriter Ben Hecht (1893-1964) and novelist Joseph Heller (1923-1999).

Both were among the scribes employed by producer Charles K. Feldman for his 1967 spoof version of Casino Royale. But little had been written about that Casino Royale work prior to Duns’ research.

The Spy Command conducted an interview with Duns via email.

QUESTION: What is it about the Charles K. Feldman production of Casino Royale that spurred you to find out more?

JEREMY DUNS: I tend to be interested in oddities and gaps in the record, and follow them up if I think there might be more there.

There has been so much written about the James Bond series that the tendency is to think that there’s nothing substantial that could now be discovered about this world, but I started to rethink that in 2005 after I found a few draft pages of an unpublished Bond novel from the Sixties (Per Fine Ounce).

That research was triggered by my reading a few sentences about the book in Duff Hart-Davis’ excellent biography of Peter Fleming, published in 1974. The discovery suggested to me that there might be more to find than I’d thought. A couple of years later, a passing mention in one of Kingsley Amis’ published letters to a ‘story outline’ he was writing ‘based on an original Ian Fleming idea’ led me to finding Jon Cleary’s unfilmed screenplay for The Diamond Smugglers.

So what else could there be out there? Like many, I had read more about the 1967 version of Casino Royale in advance of the reboot with Daniel Craig, and had watched it again. It was as much of a mess as I remembered, but I was intrigued as to how it had all come about.

So many famous actors, directors and writers were involved, and I was particularly intrigued by some of the names in the latter camp – several books mentioned that, among others, Ben Hecht and Joseph Heller had been involved in writing for the film.

Those are two mammoth figures, of course, so that started me looking. Idly searching the internet in late 2009 I found that the Newberry Library in Chicago had copies of Ben Hecht’s material for the film. It wasn’t until a few months ago that I had any luck with Heller, for reasons explained here.

QUESTION: As you’ve written, Feldman’s project went through various phases from straight adaptation to madcap spoof. What do you think accounts for this?

DUNS: Lots of factors, I think, although we don’t know for sure. Eon’s films became increasingly successful as Feldman was trying to make his, and with each one, Sean Connery became more established in the public’s view as James Bond – he was soon virtually indistinguishable from the character.

Feldman tried to poach Connery for his movie, but Connery asked for a million dollars and Feldman refused (according to Connery he admitted to him later that this had been a mistake). But at some point, I suspect he figured that trying to compete with Eon by making a film like theirs, without Connery, would risk a weak imitation.

Feldman had also negotiated with Cubby Broccoli and Harry Saltzman to make Casino Royale with them, but they had balked at his price. There might well have been some bitterness on Feldman’s part from those negotiations failing. And in 1965 he produced What’s New Pussycat?, which despite being a chaotic production, became a big hit.

Just as a few years later, George Lazenby was convinced by his agent that James Bond was old hat in the hippie era, Feldman seems to have convinced himself of something a little similar –- that the wild madcap psychedelic tone of What’s New Pussycat? was the hip new thing, and that he had a finger on that pulse.

QUESTION: What accounts for the interest of Ben Hecht and Joseph Heller in writing for Feldman? Was it just money? Were the writers genuinely interested in the material?

DUNS: It’s always tricky to speculate on people’s motivations, and I suspect they were nuanced and with many factors.

Ben Hecht

I don’t think Hecht needed the money, but he had initially moved to Hollywood in order to make it, of course. He was a screenwriter for hire, and one of the highest-paid in the field. He knew Feldman, had worked with him before, and they seemed to have been on friendly terms. He was certainly interested in the material – in his last letter to Feldman he said he had “never had more fun writing a movie.” I think the drafts he wrote also show he was interested in the source material.

As for Heller, Feldman offered him $150,000 to work on the script, and by Heller’s own account that was a major motivating factor – as it likely would have been for most writers.

But Heller was also interested in the material, I think, and enjoyed writing it, if not the stress of working for Feldman and doing so in the dark with other writers simultaneously working on the same script. Heller’s correspondence with Feldman and his satirical article about the experience are self-deprecating and dismissive, to the point where one might feel he disliked Bond, but that’s the Heller voice, familiar from Catch-22: cool, cynical, sardonic. It’s not the voice of his material.

If I’d only found a snippet of his letter to Feldman in which he described the pre-titles sequence he and George Mandel wrote for the film, but none of the script material, it would be easy to assume that he found the whole thing beneath him and was taking the mickey out of the whole thing. But I think that sequence is brilliant and shows a lot of care and craft. That and a lot else he wrote is easy to imagine in a later Connery film.

Other aspects of that letter, the script material, and Heller’s extensive notes and suggestions for it, show that he took the job very seriously, and did a lot of work on it.

Joseph Heller

QUESTION: Of the Hecht and Heller Casino Royale scripts, which do you think is better?

DUNS: That’s impossible to say at this point, mainly because I don’t know if there’s any more Heller material out there. There are thousands of pages in the Charles K Feldman Collection, but it’s currently closed, and there are clearly parts of the story we don’t yet know.

That said, it looks on the face of it that Hecht did more work on the film, for longer, and it more generally fits the kind of Bond film I tend to favor, eg From Russia With Love and On Her Majesty’s Secret Service. Heller’s material wasn’t pastiche, spoof or satire, but nudges more towards the vein of You Only Live Twice.

Heller built on a lot of Hecht’s material, though, perhaps with Billy Wilder’s material in between, so there are several plot similarities, and their tone is broadly similar. But there’s more research to do, and it’s a little like comparing apples and pears. These were two geniuses of the 20th century, let loose on James Bond.

QUESTION: How would you describe Charles K. Feldman. I know he was an agent (and Albert R. Broccoli’s boss) and he got into production. What made him want to do that transition?

DUNS: He was a powerful Hollywood figure, and as an agent represented a huge number of stars: Marilyn Monroe, Greta Garbo, Marlene Dietrich, John Wayne, Gary Cooper, to name just a few. He was handsome and debonair and had a rather peculiar biography, of which it’s not clear how much was true – there’s a touch of Jay Gatsby about him. I’m no expert on his career, but I think he went into production at least in part because the studio system was collapsing and creating his own projects was a way to steer a new course for the talent he represented.

Poster for Charles K. Feldman’s 1967 version of Casino Royale

QUESTION: Is there an element of tragedy with the Feldman production of Casino Royale? Hecht dies while working on the project. Feldman dies not long after the movie came out. The finished movie seems to have wasted an enormous amount of money. Was it worth it?

DUNS: Ben Hecht was 71 when he died, Feldman 63. I don’t know if the latter’s death was at all connected to the stress of making Casino Royale, but I doubt Hecht’s was related. This just happened to be the project he was working on when he died.

In terms of the finished film, I think it was a folly and an obsession that led Feldman astray, and he squandered enormous sums – including a lot of his own money – on it. But he also didn’t make use of some extraordinary script material he had commissioned from two of the era’s greatest writers. That’s perhaps not a tragedy, but it’s certainly a crying shame. Still, the material itself still exists, and I hope it can be read more widely at some point.

QUESTION: Perhaps an obvious question but is making a James Bond movie a lot harder than it looks? The two non-Eon films (1967 Casino Royale and Never Say Never Again) both encountered a lot of problems.

DUNS: Making any film is harder than it looks, but yes, a Bond film is especially tricky, especially because of the weight of expectations. At this point, Feldman was up against a phenomenon and, despite Heller’s clear warning, he didn’t understand that even a spectacle like Bond has to be at least halfway coherent.

You can replace John Barry with Burt Bacharach. You can have tremendous sets and costumes and Ursula Andress and David Niven and Orson Welles and the world’s greatest directors and writers… but you need to be able to put it all together. Feldman, quite literally, lost the plot.

The book Duns on Bond is an omnibus that collects Duns’ articles about Hecht’s Casino Royale scripts as well as pieces he wrote concerning Per Fine Ounce and The Diamond Smugglers. It can be ordered at AMAZON UK and AMAZON US, as well as AMAZON CANADA and other Amazon sites.

Duns wrote about Joseph Heller and Casino Royale in an APRIL 20 article in The Times of London. The article is behind a paywall. if you register for The Times’ site, you can see two free articles a month. The Times is offering a one-month free subscription plan. 

Duns uncovers Joseph Heller’s work on Casino Royale

Poster for Charles K. Feldman’s 1967 version of Casino Royale

Writer Jeremy Duns, who in 2011 researched Casino Royale scripts by Ben Hecht, has produced another chapter in the saga of the Charles K. Feldman production — work that Catch 22 author Joseph Heller did for Feldman’s project.

Duns’ research about Heller is contained in an April 20 article in The Times of London.

Heller was approached by producer Feldman after Hecht died in 1964. Hecht’s work was more of a faithful adaptation of Ian Fleming’s first James Bond novel.

However, according to the article, Feldman wanted to go in a more extravagant direction after Hecht’s death. Heller, who worked with novelist George Mandel as a co-writer, came aboard during this phase of the project in early 1965.

In one version of the Heller material, according to Duns, the fugitive Nazi doctor Joseph Mengele “is removing the brains of leading scientists” and storing them.

A very similar idea would be included in a March 1966 episode of The Wild Wild West, The Night of the Druid’s Blood. The series was set in the 1870s but the villain of the episode has removed the brains of scientists who are still alive, albeit disembodied. That episode was scripted by Henry Sharp, one of the show’s leading writers who earlier in his career had written for pulp magazines.

The Heller-Mandel material also includes the villain’s base is in a dormant volcano. As noted by Duns, both Our Man Flint, with James Coburn, and 1967’s You Only Live Twice featured the same concept.

Despite such flourishes, Duns says the tone of the Heller material has “a real sense of menace and suspense.”

Duns found the Heller material in the Charles K. Feldman Collection at the American Film Institute in Los Angeles. Feldman’s family donated Casino Royale material in 1969 but the collection has been closed to the public until recently, according to Duns.

To read the much more detailed article, CLICK HERE. The article is behind a paywall. However, if you register for The Times’ site, you can see two free articles a month. The Times is offering a one-month free subscription plan. Duns also has his own summary of his research on his blog.

007-related obits of note

Nicholas Roeg’s title card for the 1967 Casino Royale

There were a couple of obituaries over the weekend of accomplished professionals with ties to James Bond.

The first was the film director Nicolas Roeg. The New York Times’ obit cited how he directed The Man Who Fell to Earth. The Guardian’s obit prominently referenced him directing Don’t Look Now.

Years before, Roeg was credited with “additional photography” for 1967’s Casino Royale, Charles K. Feldman’s expensive spoof of the 1960s spy genre For Roeg, Casino Royale was a footnote. The primary director of photography was Jack Hildyard, a distinguished cinematographer.

The other 007-related obit of note was Ricky Jay, who played a secondary villain in 1997’s Tomorrow Never Dies.

Jay was a big deal before he entered the film world of 007. The New Yorker magazine published a detailed 1993 feature story about Jay. One short passage described how Jay mastered being a magician.

Michael Weber, a fellow-magician and close friend, has said, “Basically, Ricky remembers nothing that happened after 1900.”

One of Jay’s best scenes was cut from the final version. The official Eon Production 007 feed on Twitter included it.

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Settlement reached in 007 box set case

Never Say Never Again’s poster

A settlement has been reached in a class action lawsuit that originated when a consumer who bought a James Bond box set marketed as containing “all” of the 007 movies but didn’t include 1967’s Casino Royale and 1983’s Never Say Never Again.

The lawsuit was filed against Metro-Goldwyn-Mayer, home studio to the 007 franchise, and 20th Century Fox, which distributes Bond films on home video.

Under terms of the settlement, eligible consumers will receive digital copies of the two 007 films that were not made by Eon Productions.

“The settlement is not an admission of wrongdoing and the Court has not decided who is right and who is wrong.  Instead, the parties decided to settle the dispute,” according to the announcement.

The box sets referenced in the settlement announcement were “Bond 50: Celebrating Five Decades of Bond 007,” “The James Bond Collection” and “The Ultimate James Bond Collection.”

If someone wants to claim the digital copies, they have to submit a claim form by May 29. “Claim forms can be obtained at www.bondDVDsettlement.com or by calling 1-833-380-5565.”

If someone wants to be excluded from the settlement they have to do so by May 18. “This is the only option that allows you to keep any rights you currently have to negotiate with or sue Defendants about the claims in this case,” according to the announcement.

For more information, CLICK HERE.

This is the same case where a federal judge in Seattle last year issued a 14-page ruling full of James Bond puns.

Roger Moore part of TCM Remembers 2017

Turner Classic Movies has unveiled the 2017 edition of its TCM Remembers video, honoring actors and crew members who passed away during the year.

Roger Moore, who played James Bond in seven 007 films from 1973 to 1985, was part of the video. At around the 3:10 mark, the video includes a clip of Moore from 1977’s The Spy Who Loved Me.

Other notables in the video include:

–Martin Landau, who played a henchman in 1959’s North by Northwest (used for one of two clips in the video) and gained fame in the Mission: Impossible television series.

–Veteran character actor Clifton James, whose many credits include playing redneck sheriff J.W. Pepper in Live And Let Die and The Man With the Golden Gun.

–Fred Koenekamp, an Oscar-winning director of photography who had earlier honed his craft photographing 90 episodes (out of 105 total) of The Man From U.N.C.L.E. television series.

–Daliah Lavi, an actress whose credits included the first Matt Helm film, The Silencers, and the 1967 Casino Royale spoof.

–Bernie Casey, a busy actor who, among other things, played Felix Leiter in 1983’s Never Say Never Again, the non-Eon 007 film starring Sean Connery.

You can view the video below.

007 by the numbers: Films per decade

An exchange with a fellow James Bond fan got us to thinking about the output of James Bond fans by decade.

There has been a long-term trend of fewer movies. Some say it’s because making films has gotten more complicated.

Anyway, without further analysis, here’s how it breaks down by decade.

1960s: 007 films. This was the decade of Bondmania so, naturally, it’s when output reached its zenith. There were six entries in the Eon Productions series, plus the Casino Royale spoof produced by Charles K. Feldman with fifth credited directors including John Huston.

1970s: 005 films. The Eon series began the decade by bringing back its original leading man (Sean Connery) while spending the rest of the ’70s with Roger Moore.

1980s: 006 films. The Eon series was like clockwork, with a movie every other year. Also, there was Connery’s final Bond film, Never Say Never Again, the non-Eon production that came out in 1983, the same year as Eon’s Octopussy.

Timothy Dalton replaced Moore with 1987’s The Living Daylights (after Pierce Brosnan had been signed but couldn’t get out a contract with NBC). Eon didn’t miss a beat. That would be the last time such a statement would be uttered, though fans didn’t realize it at the time.

1990s: 003 films. A big legal fight between Eon and studio Metro-Goldwyn-Mayer shut down production at the start of the decade. Bond didn’t return until 1995’s GoldenEye. But the (by now) tradition every-other-year production schedule still resulted in three entries for star Pierce Brosnan.

2000s: 003 films. MGM gave Eon an extra year to put out Die Another Day in 2002. It was Brosnan’s finale, though he didn’t know it at the time. Eon then went into a period of self-reflection. It got the rights to Casino Royale, opted to ditch Brosnan and hire Daniel Craig as a replacement.

Quantum of Solace in 2008 proved to be the final 007 film produced on an every-other-year schedule. But nobody knew it at the time.

2010s: 003 films (scheduled). The decade began with MGM going into bankruptcy and emerging as a smaller company. Craig, though, stayed onboard with 2012’s Skyfall, followed by 2015’s SPECTRE.

“Everybody’s just a little bit tired,” Daniel Craig said in 2016.

Then, another self-imposed break took hold.

“There’s no conversation going on because genuinely everybody’s just a bit tired,” Craig said at a New Yorker magazine event in fall 2016, referring to the next Bond film. Eon boss Barbara Broccoli stepped up her involvement with non-Bond films as well as plays, including a production of Othello with Craig.

Craig said last month on CBS’s The Late Show he would be back for Bond 25. “I needed a break,” he told host Stephen Colbert.

Eon has announced a U.S. release date of November 2019 for Bond 25. But, for now, it’s not known what studio will actually distribute the film. MGM doesn’t have a distribution operation and cuts deals with other studios.