007 veteran crew member talks to James Bond Radio

The Internet series James Bond Radio today debuted a new podcast featuring veteran James Bond crew member Terry Bamber.

Bamber worked on Bond films from The Man With The Golden Gun through Skyfall. He’s not involved with SPECTRE (though his wife is a crew member). He was also assistant director and production manager of The Man From U.N.C.L.E. movie, which debuts Aug. 14.

Bamber’s father worked on the early 007 films. Given the family history, he makes some observations of note:

Favorite Bond movies: On Her Majesty’s Secret Service (“fantastic film, fantastic film”), followed by Casino Royale and Diamonds Are Forever (“I could watch it over and over again.”) The Living Daylights is “in my top third” of Bond films.

First experience on a Bond set: Being taken by his father to the You Only Live Twice volcano set.

Favorite Bond: By “millimeters of a point,” Sean Connery.

Why he’s not working on SPECTRE: He says he got a phone call saying the production team decided “to go in a different direction.”

Bamber also makes some brief comments about his work on The Man From U.N.C.L.E. movie, where he was assistant director and production manager on the second unit.

The interview lasts more than 90 minutes and covers more ground than this post can really cover. You can listen to the podcast below. The Terry Bamber interview starts around the 17:00 mark.

Evolution of the spy turtleneck

David McCallum's main titles credit in the final season

David McCallum’s main titles credit in the final season

The unveiling of SPECTRE’s teaser caused a bit of stir when it was released on social media on Tuesday.

Star Daniel Craig, instead of the traditional Bond tuxedo or business suit, wore a black turtleneck as well as a shoulder holster while holding a gun. While a different look for the current 007, turtlenecks and spies have gone together for a half century. Here’s a quick look.

David McCallum, The Man From U.N.C.L.E.: U.N.C.L.E. agent Illya Kuryakin had an iconic look with his black turtleneck. Ironically, he actually didn’t wear it that often in the show but it’s an image that many people remember.

As we noted IN THIS POST, Jon Heitland’s Man From U.N.C.L.E. book includes a photo of McCallum making an appearance in a parade accompanied by Boy Scout “bodyguards” wearing turtlenecks and carrying toy U.N.C.L.E. Special guns. The actor, though, was wearing a suit and tie.

Occasionally, Kuryakin might vary his wardrobe by wearing a gray turtleneck or, in a second-season episode, a white one with a red jacket when he was going undercover as a musician. Armie Hammer, who has the Kuryakin role in this year’s movie version of the series, has worn dark turtlenecks.

Dean Martin as Matt Helm with Stella Stevens in The Silencers.

Dean Martin and Stella Stevens in The Silencers.

Dean Martin, Matt Helm movies: Matt sometimes wore suits but he often favored light-colored turtlenecks, including tan and yellow ones. In the final film of the series, The Wrecking Crew, Helm donned a black turtleneck with white jacket and pants.

Sy Devore designed Dean Martin’s clothes for the 1966-68 film series. For whatever reason, turtlenecks (as well as dress cowboy boots) were a big part of the Matt Helm look. Devore had other celebrity customers, which is noted ON THE HOME PAGE of the store that bears his name.

Another moment of 007 clothing splendor

Another moment of 007 clothing splendor

Sean Connery, Diamonds Are Forever: Some fans make fun of the pink power tie that Sean Connery wore as 007 in his sixth Bond film for Eon Productions.

Yet, he had another outfit that sometimes draws comments: a brown turtleneck with a plaid sport jacket. Anthony Sinclair, it wasn’t. It’s only seen during a brief sequence where Bond accompanies Willard Whyte (Jimmy Dean) to find out what Blofeld (Charles Gray) has been doing with Whyte’s business empire. Bond is back in a three-piece suit for the climax aboard an oil rig.

Roger Moore in Live And Let Die

Roger Moore in Live And Let Die

Roger Moore, Live And Let Die: Many Bond fans reacted to the SPECTRE teaser by saying it was an homage to Roger Moore in his initial 007 film in 1973. The actor donned black turtleneck and pants along with a shoulder holster to sneak around San Monique prior to rescuing Solitaire (Jane Seymour) and taking down Dr. Kananga (Yaphet Kotto). The outfit was also similar to an outfit Steve McQueen wore in Bullitt, which came out five years earlier.

UPDATE (March 18): Feedback here (see Orange Wetsuit’s comment below) and on social media call for mentions of:

–Jonny Quest and his trademark black turtleneck. He wasn’t a spy, of course, but Race Bannon was.

–The Saint (Roger Moore), who, while not a spy, did wear turtlenecks as part of “sneaking around” outfits.

–Derek Flint (James Coburn), who wore a white turtleneck as part of a white outfit in In Like Flint.

–The Archer spy cartoon series.

Three Tom Mankiewicz 007 anecdotes

"Mankiewicz? I have some more ideas."

“Mankiewicz? I have some more ideas.”

Empire magazine’s website has A 2010 INTERVIEW with screenwriter Tom Mankiewicz about his work on James Bond films.

A couple of anecdotes may be of interest.

Connery’s contribution to the script of Diamonds Are Forever: There may been various tellings of a script meeting Mankiewicz had with star Sean Connery. This interview had additional details.

When Lana Wood appears at the crap table and says, “Hi, I’m Plenty.” Bond says, “Why, of course you are.” She says, “Plenty O’Toole.” (Connery) asked me if he could respond, “‘Named after your father perhaps?’” I said, “It’s a great line.” But the very fact that he asked me – I was (only) 27 years old – shows you the kind of way he goes about his work. He’s totally professional. Any other actor would just have tried it right in the take. I was amazed. It’s a good line, and it’s his line.

The writer’s deleted reference to From Russia With Love in The Spy Who Loved Me: Mankiewicz did an uncredited rewrite on The Spy Who Loved Me. The finished film referenced, briefly, Tracy from On Her Majesty’s Secret Service. It occurred in a scene where Bond and Soviet agent Triple-X verbally joust to show off how each knows the other’s dossier.

Mankiewicz wanted to insert a From Russia With Love reference in the same scene.

The Best Bond quip maybe that I ever wrote – and I wrote hundreds of them – was cut out of The Spy Who Loved Me. It’s when Roger (Moore) meets Barbara Bach at the bar. He knows that she’s a Soviet Major or something and she knows he’s 007. Anyway, he says, “I must say, you’re prettier than your pictures, Major,” and she responds, “The only picture I’ve seen of you, Mr. Bond, was taken in bed with one of our agents – a Miss Tatiana Romanova.”…Roger then said, “Was she smiling?” And Barbara Bach answers, “As I recall, her mouth was not immediately visible.” Roger retorts, “Then I was smiling.”

You can read the entire Bond-related portion of the interview by CLICKING HERE. From the same interview, you can read what Mankiewicz said about the Christopher Reeve Superman movies BY CLICKING HERE.

UPDATE: In the Superman portion of the interview, Mankiewicz provides some 1972 quotes from Connery. According to the screenwriter, he had been asked by 007 producer Albert R. Broccoli to see if Connery could be enticed to play Bond in Live And Let Die.

He said, “Listen, Boy-o, one of the things I always hear is that I owe it to the public to play Bond. I’ve done six fucking movies. When do I stop owing it to the public? It’s not a question of being kind or unkind. What, after the twelfth or fifteenth? After they stop making money anymore and people say, “What, that’s all he plays? How much do you owe after six films?” I understood completely. If he didn’t get out then, he would just be James Bond. His other films wouldn’t be taken seriously.

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.

David Picker discloses some 007 tidbits

David Picker

David Picker

David V. Picker, the former United Artists executive, provides some interesting behind-the-scenes 007 background in his memoir about his long film career.

Among them: Robert Shaw’s name surfaced in the earliest stages of casting Bond; Dr. No really cost $1.35 million, not the $1.1 million it had been budgeted for; and producers Albert R. Broccoli and Harry Saltzman started clamoring to renegotiate their deal with UA shortly after From Russia With Love was released.

That’s all part of the James Bond chapter in MUSTS, MAYBES AND NEVERS.

“Much has been written about Bond,” Picker writes. “Until now, no one has written in detail exactly what happened, how it happened and why it happened for one simple reason: they weren’t there.” The Bond series “would not have happened had it not been for this author’s belief in their potential.”

Picker, 82, was in his early 30s and head of production for UA when it negotiated a deal with Broccoli and Saltzman in 1961. He was the only one on the UA side who had read the Ian Fleming novels. The Bond chapter in the memoir expands on comments he has made in documentaries such as Inside Dr. No and Everything Or Nothing.

Picker doesn’t provide much in the way of details about Shaw, who played Red Grant in From Russia With Love, as a potential Bond. Broccoli and Saltzman were conducting the search and UA gave the producers a lot of a leeway. UA didn’t see anything in detail until Sean Connery was presented, according to Picker’s account.

The former executive has more to say about the budget. Columbia Pictures, which had released a number of Broccoli’s U.K.-produced films in the ’50s, wasn’t enthusiastic but was willing to provide a budget of $300,000 to $400,000, according to Picker. UA agreed to the $1.1 million.

Just before the start of filming on Dr. No, the final budget from Broccoli and Saltzman was for $250,000 more. “In today’s world that may not seem like a lot of money, but then it was a very big deal,” Picker writes. The author describes some subterfuge, enlisting the help of his uncle, Arnold Picker, one of the UA partners, to get the higher budget implemented.

As the series succeeded, Broccoli and Saltzman wanted their deals re-done. UA, however, wasn’t aware of Connery’s growing unhappiness until You Only Live Twice. “United Artists relied on our producers to deal with problems on their films.”

Picker describes how he took the lead at UA to get Connery back for Diamonds Are Forever, a film he credits with saving the franchise.

Picker does make one factual error in the chapter, listing Guy Hamilton as the director of From Russia With Love, instead of Terence Young. That aside, the chapter is an interesting read. The UA side of the Bond story often doesn’t get told and Picker’s viewpoint is worth checking out.

You can CLICK HERE to check out the memoir on Amazon.com

UPDATE: Non-007 reasons to read Picker’s memoir: anecdotes about how Stanley Kramer’s first cut of It’s a Mad, Mad, Mad, Mad World was 4:01 and the director vowed not to cut one frame; the backstory behind the movies The Beatles made for UA; how UA passed on movies such as The Graduate and American Graffiti. And much, much more.

David Picker, key UA executive, publishes memoir

Picker: Diamonds Are Forever saved the franchise

Picker: Diamonds Are Forever saved the franchise

David Picker, a United Artists executive who helped get the James Bond film franchise off the ground, has come out with a memoir, MUSTS, MAYBES AND NEVERS.

Picker, 82, provided a detailed description to THE DEADLINE ENTERTAINMENT NEWS WEB SITE and its editor in chief, Nikki Finke. Here’s an excerpt concerning the 007 series. It begins with how Picker pushed 007 producers Albert R. Broccoli and Harry Saltzman to bring Sean Connery back for 1971’s Diamonds Are Forever:

It’s a book about movies that I was actually part of – from getting Sean Connery to come back and do one more James Bond film and save the franchise…


James Bond – briefly: Why did it take years (seven books worth) before James Bond came to the screen? Couldn’t any intelligent studio production executive see that Bond was a franchise waiting to happen? The answer is complex. Sometimes everything has to fall in place…

…Bud Ornstein, the head of UA London production called and said that Cubby Broccoli and Harry Saltzman were coming to New York and they wanted to meet with Arthur Krim, Robert Benjamin, Arnold Picker and me. I set up the date. Harry, Cubby and Harry’s lawyer, Irving Moskowitz, sat in Arthur Krim’s office with Bob Benjamin, Arnold Picker and me. I usually sat to the left of Arthur’s desk, often with one of my long legs propped on the corner of the desk so I could tilt my chair back. Cubby was the first to speak. “We own the rights to James Bond. Are you interested?”

My leg came down and my chair hit the ground with a thud. And 007 began his screen life.

Picker was one of the biggest backers of the Bond series in the UA executive offices. His description about the book’s contents to Finke is much longer and mentions various films. You can read it BY CLICKING HERE

You can order the book from Amazon BY CLICKING HERE.

UPDATE (Sept. 28): On Amazon.com, the book’s preview includes the table of contents and part of the index. There’s a chapter devoted to the 007 series and different aspects of the movies are referenced in the index. Non-Bond topics in the book include studios operating as part of larger conglomerates, including flak United Artists executives got from Transamerica Corp. Picker also discusses successful movies he let get away. Finally, Picker discusses people he worked with such as diverse as the Beatles, Billy Wilder and Stanley Kramer.

Live And Let Die’s 40th: the post-Connery era truly begins

Live And Let Die's poster

Live And Let Die’s poster

For the eighth James Bond film, star Sean Connery wasn’t coming back. Three key members of the 007 creative team, screenwriter Richard Maibaum, production designer Ken Adam and composer John Barry, weren’t going to participate. And producers Albert R. Broccoli and Harry Saltzman were mostly working separately, with this movie to be overseen primarily by Saltzman.

The result? Live And Let Die, which debuted 40 years ago this month, would prove to be, financially, the highest-grossing movie in the series to date.

Things probably didn’t seem that way for Eon Productions and United Artists as work began. They had no Bond. Broccoli and Saltzman didn’t want Connery back for 1971’s Diamonds Are Forever. The studio didn’t want to take a chance and made the original screen 007 an offer he couldn’t refuse. But that was a one-film deal. Now, Eon and UA were starting from scratch.

Eon and UA had one non-Connery film under their belts, 1969’s On Her Majesty’s Secret Service. They had tried the inexperienced George Lazenby, who bolted after one movie. For the second 007 film in the series not to star Connery, Eon and UA opted for a more-experienced choice: Roger Moore, former star of The Saint television series. Older than Connery, Moore would eventually employ a lighter touch.

Behind the camera, Saltzman largely depended on director Guy Hamilton, back for his third turn in the 007 director chair, and writer Tom Mankiewicz. Mankiewicz would be the sole writer from beginning to end, rewriting scenes as necessary during filming. In a commentary on the film’s DVD, Mankiewicz acknowledged it was highly unusual.

Perhaps the biggest creative change was with the film’s music. Barry had composed the scores for six Bond films in a row. George Martin, former producer for the Beatles, would take over. Martin had helped sell Saltzman on using a title song written by Paul and Linda McCartney. The ex-Beatle knew his song would be compared to the 007 classic title songs Barry had helped write. McCartney was determined to make his mark.

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Saltzman liked the song, but inquired whether a woman singer would be more appropriate. Martin, in an interview for a 2006 special on U.K. television, said he informed Saltzman if Eon didn’t accept McCartney as performer, the producer wouldn’t get the song. Saltzman accepted both.

Live And Let Die wasn’t the greatest James Bond film, despite an impressive boat chase sequence that was a highlight. The demise of its villain (Yaphet Kotto) still induces groans among long-time 007 fans as he pops like a balloon via an unimpressive special effect. Sheriff J.W. Pepper, up to that time, was probably the most over-the-top comedic supporting character in the series. (“What are you?! Some kind of doomsday machine, boy?!”)

But Live And Let Die is one of the most important films in the series. As late as 1972, the question was whether James Bond could possibly continue without Sean Connery. With $161.8 million in worldwide ticket sales, it was the first Bond film to exceed the gross for 1965’s Thunderball. In the U.S., its $35.4 million box office take trailed the $43.8 million for Diamonds Are Forever.

Bumpy days still lay ahead for Eon. The Man With the Golden Gun’s box office would tail off and relations between Broccoli and Saltzman would get worse. Still, for the first time, the idea took hold that the cinema 007 could move on from Connery.

Many editors at the former Her Majesty’s Secret Servant website criticized the movie and its star in a survey several years ago. But the film has its fans.

“I vividly remember the first time I saw one of the Bond movies, which was Live And Let Die, and the effect it had on me,” Skyfall director Sam Mendes said at a November 2011 news conference. Whatever one’s opinions about the movie, Live And Let Die ensured there’d be 007 employment for the likes of Timothy Dalton, Pierce Brosnan and Daniel Craig.





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