A footnote about two of Wilson & Broccoli’s non-007 films

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

We read a debate on a 007-related message board about the non-Bond films of Barbara Broccoli and Michael G. Wilson.

Supporters of the Eon Productions co-bosses said it was great they were involved with other projects, it would keep them fresh and invigorated. Skeptics wondered whether this would adversely affect the Bond series.

This post doesn’t take a side in the debate. Rather, it’s to provide additional information. We’ll take it step-by-step.

–Broccoli and Wilson are listed as executive producers on two independent films, Radiator and The Silent Storm.

–What does that mean? “Executive producer” in movies is a secondary, supportive-type title to the producer or producers. On television, executive producer is the title used by the top producer or producers of a show.

On SPECTRE, the 24th 007 film, Broccoli and Wilson were producers (the top producers, naturally) and Callum McDougall was executive producer. McDougall also doubled as unit production manager.

–Put another way, Broccoli and Wilson aren’t the primary producers on either Radiator or The Silent Storm, the same way Callum McDougall wasn’t the primary producer on SPECTRE.

Broccoli and Wilson are among 12 executive producers on The Silent Storm and among eight executive producers on Radiator.

The lead producers of Radiator were Tom Browne and Genevieve Stevens. The lead producers of The Silent Storm was Nicky Bentham.

As for the debate on the message board, the real question is how well Broccoli and Wilson are at multi-tasking.

In the 1960s, there was a tension between Eon founders Albert R. Broccoli (Barbara Broccoli’s father and Michael G. Wilson’s stepson) and Harry Saltzman.

Saltzman pursued a number of non-Bond projects while Albert R. Broccoli (aside from Call Me Bwana and Chitty Chitty Bang Bang, the latter based on another Ian Fleming novel) concentrated on the 007 series.

Barbara Broccoli and Michael G. Wilson, meanwhile, are pursuing the Saltzman model. Besides the independent films, they’re also involved in plays and television projects.

The 007 film dilemma in 3 minutes

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

As the James Bond film franchise decides what to do next, it faces a bit of a dilemma:

Should it continue to seek more critical respect (Casino Royale and Skyfall) or should it embrace its roots, the way SPECTRE, the most recent 007 film, did?

The last two Bond films were directed by an auteur, Sam Mendes.

In 2012, Eon Productions co-boss Barbara Broccoli told ComingSoon.Net that the franchise didn’t hire journeymen directors: “(W)e’ve never been one to hire directors for hire. We always wanted someone who was a great director in their own right and a storyteller.”

Yet, in the first four movies of the series — which generated some of the most memorable scenes for the franchise — were directed by journeymen Terence Young and Guy Hamilton. Young, in particular, dealt with cost and schedule overruns on Dr. No and From Russia With Love.

Young even had part of his Dr. No fee impounded until costs were recouped at the box office because of the overruns. Bond was a much more modest undertaking in those days.

2012 also saw something that summarizes the divide between respect and tradition.

The British Academy of Film and Television Arts wanted to celebrate the 50th anniversayr of the Bond films. So Tom Jones appeared to perform the title song to Thunderball, the fourth 007 film.

The audiences was full of artistes. Yet they seemed to be having as good a time as audiences did in 1965 when Thunderball first came out.

On some occasions, respect and tradition can coincide. Something to keep in mind as Bond 25 undergoes its journey in development. Here’s Sir Tom in 2012:

Barbara Broccoli named BAFTA VP for film

Barbara Broccoli

Barbara Broccoli

Barbara Broccoli, co-boss of Eon Productions, has been named vice president of film for the British Academy of Film and Television Arts, the organization said in a statement.

Here’s an excerpt:

Following the recent appointment of Greg Dyke as BAFTA’s Vice President for Television, Barbara Broccoli will join Dyke in co-chairing BAFTA’s Council, supporting the Academy’s President, HRH The Duke of Cambridge, and assuming an ambassadorial role for the charity. …BAFTA can appoint up to three Vice Presidents, one in each of the three sectors of film, television and games, who can serve a term of up to six years.

Barbara Broccoli OBE said: “I am passionate about BAFTA’s role in educating, inspiring and celebrating generations of British film-makers. I am therefore honoured to accept the role of BAFTA’s Vice President for Film”.

Broccoli, 55, and her half-brother Michael G. Wilson, 74, have produced the last eight James Bond movies, starting with GoldenEye in 1995.

To read the entire press release, CLICK HERE.

FWIW, observations about Bond 25

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

Last week, Metro-Goldwyn-Mayer talked a bit about the future of the James Bond film franchise. The studio didn’t say a lot but it was the most actual news since SPECTRE began its theatrical run last year.

So, here are some conservative observations about Bond 25 and what’s coming next.

It’s taking longer to reach a new 007 distribution deal that people initially thought:  Sony’s most recent 007 distribution contract ended with SPECTRE.

Some, including Michael G. Wilson, co-boss of Eon Productions, which actually makes the 007 films, expected a new deal to be reached by January or February. No deal is in place and MGM CEO Gary Barber told investors last week there’s “no rush.”

Barber also said MGM has talked to many studios about a deal and he’s confident MGM will reach a good deal. But it also *suggests* other studios want better terms than the last Sony deal — 50-50 financing but Sony having to accept only 25 percent of the profits. For the first billion-dollar Bond — Skyfall — Sony only got $57 million in profits while MGM made $175 million.

More than ever, the MGM-Eon partnership is an uneasy one: When MGM was in bankruptcy in 2010, it said it planned to put Bond films on an every-other-year schedule. Barber’s remarks last week — Bond films will come out every three to four years — marked a formal surrender from that.

Eon bosses Wilson and Barbara Broccoli aren’t interested in making Bond films every other years. They have other irons in the fire, including plays and television projects. One suspects MGM would like Bond films more frequently than less frequently. But MGM relies on Eon to make Bond films and there’s only so much it can do. During’s last week investor call, Barber played up MGM’s other projects.

Also, the Eon side has lived through a lot of different MGM executive regimes ever since MGM bough United Artists in 1981. You could make the case that Wilson and Broccoli have no reason to be any closer to Barber than his various predecessors.

Take the over in over/under bets about when Bond 25 comes out: If this blog had to bet, it’d still bet on 2018 for a Bond 25 release date. But if the talks for another distribution deal drag out a few more months, a 2019 release date suddenly looks more reasonable.

As a general rule, there seem to be more reasons for a later release date than an earlier date. In 2012, Sony executives said they expected a 2014 release date for Bond 24. Barbara Broccoli and Daniel Craig slapped down the idea in a joint interview, saying a Sony executive was getting ahead of himself. Sure enough, Bond 24, later called SPECTRE, came out in 2015.

The Guardian’s daft 007 proposal

Carmine Infantino's cover to Flash No. 123, "The Flash of Two Worlds."

The Guardian’s proposal for alternate-universe 007s sounds a lot like “The Flash of Two Worlds” story published by DC Comics in 1961.

The Guardian has come out with a story in effect saying don’t choose between Tom Hiddleston and Idris Elba as the next James Bond but do movies with both — at the same time.

The British newspaper cited how, “We are, after all, living in the era of Marvel’s highly successful expanded universe of interconnected movie and TV superhero stories. Star Wars’ take on the concept is moving forward apace, and Warner Bros has 10 films based on the DC Comics back catalogue planned between now and 2020.”

That sets up the meat of the proposal:

But Bond is just as big as any of the above, and right now seems even more suited to being split into multiple strands. Elba fans reckon the Hackney-born Londoner would make the perfect 21st-century 007, while Hiddlestonians see their Eton-educated man as the epitome of traditional Flemingesque toff sophistication. So why not take the opportunity presented by Craig’s mooted departure and give both versions screen time?

Here are two reasons why the Guardian’s idea is daft.

–Expanded universes and multiple/alternate universes are not the same thing.

To use Marvel as an example, the Robert Downey Jr. Iron Man co-exists in the same fictional universe as Chris Hemsworth’s Thor and Chris Evans’ Captain America. The characters have been featured in separate films and have also been in movies together. That’s what Warner Bros. is moving toward with the Batman v Superman: Dawn of Justice movie that opens this week.

What The Guardian is calling for are movies featuring alternate universe versions of Bond. Eon Productions opened the door to this concept when it rebooted the 007 series ten years ago with Casino Royale. The production company decided to start over, but kept the popular Judi Dench as M, with the explanation that Dench is playing a different version of the character than she did previously.

The Guardian is calling for an Elba 007 set in the present time and a Hiddleston Bond set in the time of the original Ian Fleming novels. Unless the two Bonds suddenly develop super powers, like the two versions of DC Comics’ The Flash, the two Bonds can never meet because they’re in separate universes.

Still, some fans might be intrigued with watching alternate takes. So let’s look at the second reason.

–Eon has trouble enough producing one James Bond movie every three years. Do you really expect it to produce, in effect, two series at once?

Michael G. Wilson, Eon’s co-boss, has talked since at least 1999 about how exhausting it is to make Bond movies. Barbara Broccoli, the other co-boss, told the Los Angeles Times in November 2012 that she didn’t want to hurry future 007 installments.

“Sometimes there are external pressures from a studio who want you to make it in a certain time frame or for their own benefit, and sometimes we’ve given into that,” Broccoli said. “But following what we hope will be a tremendous success with ‘Skyfall,’ we have to try to keep the deadlines within our own time limits and not cave in to external pressures.”

Also, even with a three-year gap between Skyfall and 2015’s SPECTRE, the scripting process was chaotic. So imagine that situation squared as Eon produced twin Bond series. And that doesn’t take into consideration other ideas put forth by The Guardian, including a Netflix series (similar to the Netflix shows featuring other Marvel characters) featuring Moneypenny.

Finally, on top of all that, Broccoli and Wilson are interested in various non-Bond projects. In that respect, they’re more like Eon co-founder Harry Saltzman than they are the other co-found Albert R. Broccoli, who never did a non-Bond film after 1968.

Writing’s On The Wall’s Oscar triumph

Daniel Craig in SPECTRE's main titles

Daniel Craig in SPECTRE’s main titles

By Nicolás Suszczyk, Guest Writer

Sam Smith and Jimmy Napes got the Oscar award for Best Original Song in 2016 Academy Awards edition. It was the second triumph for the James Bond series had in that category.

In the 20th century, Bond songs were beaten by the likes of “The Way We Were” (winning over Live And Let Die) or “You Light up My Life” (winning over Nobody Does It Better from The Spy Who Loved Me) and “Arthur’s Theme (The Best You Can Do),” which won over For Your Eyes Only. For that matter, 007 classic songs such as Goldfinger and Diamonds Are Forever weren’t even nominated.

The spell was broken three years ago when Skyfall received the academy’s nod over songs like the solid “Suddenly,” from Les Miserables.

In September 2015, when Sam Smith introduced his performance of the song “Writing’s On The Wall” for SPECTRE, it divided the Bond fans between the ones showing appreciation and the ones turning a big thumb down – not to mention a great deal of bullying towards the 23-year-old singer for his falsetto voice, hidden under the shadows of the social networks.

“It’s the quickest song I’ve ever written,” Smith said, claiming he and Napier finished the job in just 20 minutes. (Later Eon Productions co-boss although Barbara Broccoli said it took much more time than that.)

Despite Smith’s vocal register, “Writing’s On The Wall” featured an unmistakable Bondian sound reminiscent to “Thunderball” with a touch of the recent “Skyfall.” A melody so accurate that it looks like composer Thomas Newman barely retouched the original instrumental for the scene where James Bond and his love interest Madeleine Swann get steamy on a train going through the Moroccan desert.

The song that supposedly took Sam Smith and Jimmy Napes less than half an hour to write described a vulnerable state of the rebooted James Bond. Bond lives with the memory of his beloved Vesper (Eva Green’s character in Casino Royale) and his boss-turned-mother figure M (Judi Dench, who bid farewell at the end of Skyfall).

It takes a lot for a man to admit his weakness – particularly a man like James Bond– and this song achieves to do it in a powerful way, as Daniel Kleinman’s main title visuals show our hero naked, wrapped around octopus tentacles coming out of the villain’s back while kissed by beautiful women.

While the artist voice sounds fragile, the seven main notes of the tune explode in power. A power expressing enough strength that the instrumental intermezzo (around the three minutes of the full version of the song) wasn’t cropped out during the usual editing to make a four minute composition fit into a short main title sequence. It was masterfully used to emphasize the artistic visuals.

Sam Smith had the coveted Oscar statue on his hand and dedicated it to the LGBT community he is part of. Among other contenders, he triumphed over Lady Gaga’s “Till It Happens to You,” introduced by U.S. Vice President Joe Biden during the ceremony.

Some people may not agree, not even Bond fans, about this recognition. But it is truly deserved because the song isn’t focused in the victorious figure of agent 007, but in the depths of the hidden soul of James Bond: his fears, his vulnerability and his overdue need for love.

And this was done with a melody that synthetizes the film, twisting like the sinuous octopus tentacles that symbolize the effect of SPECTRE wrapping into the soul of the man behind the spy, and a voice that shouts what the spy covering the human being will never openly tell.

The emotional complexity of the lyrics, the music and the voice is something that a spectator with an artistic eye can appreciate and enjoy while listening to “Writing’s on The Wall.” When accompanied by Kleinman’s ravishing main title sequence, it’s the way the song was meant to be appreciated.

 

Eon’s newest non-007 venture

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

Eon Productions, which produces the James Bond film series, has entered into a “creative alliance” with newly formed Cove Pictures, a new international television production concern, VARIETY REPORTED.

Cove “will focus on high-end drama, comedy and factual programs for the global market,” and will work with Eon to develop “internationally targeted” shows, according to the entertainment news outlet.

The new production company is headed by Heather Rabbatts, who has served with Eon co-boss Barbara Broccoli on the U.K. Film Council, Variety said.

Eon, since the death of co-founder Albert R. Broccoli in 1996, has become involved in a number of stage productions. Barbara Broccoli and Michael G. Wilson, the other Eon co-boss, were among 12 executives producers of the 2014 film The Silent Storm.

Eon also has worked to develop a movie about Edward Snowden, who leaked National Security Agency documents to reporters. Barbara Broccoli and Wilson also have been involved in an effort to remake a 1957 horror film titled Night of the Demon in the U.K. and Curse of the Demon in the United States.

You can read the Variety story by CLICKING HERE or a story about Cove by The Hollywood Reporter by CLICKING HERE.

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