SEQUEL: 007 movies listed by number of tickets sold

Skyfall's poster image

Skyfall’s poster image

Last year, this blog published a post about how the last eight James Bond movies performed in number of tickets sold in the U.S. and Canada, 1995 to present.

Since that post ran, we now have the final figures for SPECTRE. No major changes in the conclusion. Bond movies  during this period — featuring two different Bond actors, Daniel Craig and Pierce Brosnan — sold between 23 million and 27 million tickets each.

The one exception was Skyfall with Craig, which was much higher.

Here’s the information again, with one change. Before, we listed the movies sequentially. Here, they’re listed highest to lowest, along with the average ticket price during the year of release. The information is from the BOX OFFICE MOJO website.

Skyfall (2012): 37,842,000/average ticket price $7.96

Die Another Day (2002): 27,584,000/$5.81

Tomorrow Never Dies (1997): 26,911,200/$4.59

Casino Royale (2006): 25,428,700/$6.55

The World Is Not Enough (1999): 24,853,800/$5.08

GoldenEye (1995): 24,403,900/$4.35

Quantum of Solace (2008): 23,449,600/$7.18

SPECTRE (2015): 23,001,900/$8.43

 

‘Jane Bond’ shows interest in women spies

Salt poster

Salt poster

This week’s buzz about whether actress Gillian Anderson should play a female version of James Bond caused a lot of fans to complain about click bait and political correctness.

But the media attention concerning “Jane Bond” may show something else — continuing interest in women spies.

There have been attempts at a woman spy movie series. Eon Productions, maker of the 007 films, tried to develop a spinoff movie featuring Halle Berry’s Jinx character from Die Another Day. But in the end, no movie occurred.

In 2010, Angelina Jolie starred in Salt, which had worldwide box office of $293.5 million. The film had an ending that left things open for a sequel but none has taken place. Sony Pictures is developing a television series version, Screen Daily said in February.

In 2015, the movie version of The Man From U.N.C.L.E. included Alicia Vikander as a British spy, Gaby Teller, who wasn’t a character in the original 1964-68 television series.

Thus, Solo and Illya became Solo, Illya and Gaby. Vikander got good reviews, but the movie limped home with worldwide box office of $109.9 million, pretty much killing any chance of a sequel.

On the other hand, Jennifer Garner’s Alias television series ran more than 100 episodes from 2001-2006.

In the 007 films, women spies have been a major part of the proceedings for decades.

Bond has allied himself with women agents from the Soviet Union (The Spy Who Loved Me), United States (Moonraker), China (Tomorrow Never Dies) the U.S. again (Die Another Day) and Bolivia (Quantum of Solace) . 2012’s Skyfall provided a new take on Moneypenny, in which the Naomie Harris version is initially an MI6 agent.

In these risk-adverse days, studios may want to check out properties such as the comic strip Modesty Blaise, the subject of a 1966 movie.

Anyway, we were reminded by reader Stuart Basinger that back when the film rights to Casino Royale were first acquired (years before Eon Productions was formed), producer-director Gregory Ratoff wanted to change James Bond into a woman. Ratoff wanted to cast Susan Hayward in the role. Screenwriter Lorenzo Semple Jr. worked on the project and described it in a 2012 article in Variety.

What prompted this post was a comment from a reader, @CinemaOnFire on Twitter. So, as a shoutout, we present that tweet:

UPDATE (May 25): Alyssa Rosenberg, a pop culture blogger for The Washington Post, has weighed in with an essay titled “No, a woman shouldn’t play James Bond.”  Here’s an excerpt:

If our goal is for Hollywood to create action-oriented jobs for women that will be available for decades to come, then we need franchises that are built around women. We need roles like Bond’s, or Jack Ryan’s, or Captain Kirk’s that are designed to be occupied by a rotating series of women. Borrowing Bond’s tux might be a fun fantasy. But real power means a role we don’t have to give back to the men.

IFF marks 20th anniversary of work weekends

007 vehicles owned by Ian Fleming Foundation at Kankakee, Illinois.

007 vehicles owned by Ian Fleming Foundation. (Photo by Tony Blackwood)

KANKAKEE, Illinois — The Ian Fleming Foundation marked the 20th anniversary of the group’s “work weekends,” where volunteers refurbish vehicles that have appeared in James Bond movies.

The foundation owns more than 35 such vehicles, about half stored at Kankakee, Illinois, the other half stored in the U.K.

The group normally conducts two work weekends in Illinois a year, one in the spring, one in the fall.

This weekend’s event centered on moving the vehicles stored in Illinois from one airport hangar to a larger one at the same facility.

The vehicles involved included a truck from Licence to Kill, a Jaguar sports car from Die Another Day and the Q boat from The World Is Not Enough.

The foundation was formed in 1992. A description of the group’s activities can be found on its website.

 

007 movies listed by number of tickets sold, 1995-present

Skyfall teaser poster

Skyfall teaser poster

The BOX OFFICE MOJO website has tools that let you look beyond unadjusted movie box office. You can also, for example, get a listing (for the U.S. and Canada, at least) of the estimated number of tickets sold.

There are various formulas for adjusting box office figures for inflation. But tickets sold is basic. So we decided to take a look back at the number of tickets sold for the eight 007 films of the past 20 years. Home video was firmly established, as opposed to the early years of the Bond series, where it didn’t exist and movies could get re-released.

Using this measure, 2012’s Skyfall, by far, sold the most tickets among 007 films in the region. After that, there’s less difference that the unadjusted box office figures might suggest.

What follows is each movie’s total U.S.-Canada tickets sold, with the number in parenthesis the number for its opening weekend. The average ticket price for each year is also listed. The total figure for SPECTRE is through Nov. 23.

GoldenEye (1995): 24,403,900 (6,024,100); average ticket price, $4.35

Tomorrow Never Dies (1997): 26,911,200 (5,477,800); average ticket price, $4.59

The World Is Not Enough (1999): 24,853,800 (6,991,900); average ticket price, $5.08

Die Another Day (2002): 27,584,000 (8,101,900); average ticket price, $5.81

Casino Royale (2006): 25,428,700 (6,234,100); average ticket price, $6.55

Quantum of Solace (2008): 23,449,600 (9,405,100); average ticket price, $7.18

Skyfall (2012): 37,842,000 (10,977,000); average ticket price, $7.96

SPECTRE (2015): 18,085,500, through Nov. 23, (8,176,900); average ticket price, $8.34. UPDATED FIGURE: 22,996,5000 through March 27, 2016.

UPDATE: Out of curiosity, we went back to the earliest days of the series. Remember, these movies had re-releases, in some cases several re-releases. But in the cases of Goldfinger and Thunderball, you get an idea that Bond was a *very* big thing in the U.S. in the mid-1960s. Also, there was a big decline, relatively speaking, when You Only Live Twice came out. At the same time, Twice sold almost as many tickets in the U.S. and Canada as Skyfall did. Anyway, here’s a sampling:

Thunderball (1965): 74,800,000 (no opening weekend figure available)

Goldfinger (1964): 66,300,000

You Only Live Twice (1967): 35,904,000

On Her Majesty’s Secret Service (1969): 16,038,400

Diamonds Are Forever (1971): 26,557,300

Live And Let Die (1973): 19,987,500

Moonraker (1979): 28,011,200 (2,832,000 opening weekend)

Octopussy (1983): 21,553,500 (2,826,200)

Licence to Kill (1989): 8,732, 200 (2,210,300)

UPDATE II: To give that Thunderball figure some perspective, the top box office movie in the U.S. and Canada so far this year has been Jurassic World. It sold about 79 million tickets, according to Box Office Mojo. While comparisons that far apart are dicey, it’s fair to say Thunderball was in the same general league in its day. But before Bond fans brag too much, The Sound of Music (released the same year as Thunderball and also re-released several times), sold more than 142 million tickets.

Return of the mysterious, shadowy organization

Mission: Impossible Rogue Nation's teaser poster

Mission: Impossible Rogue Nation’s teaser poster

It’s like the mid-1960s all over again.

–Mission: Impossible Rogue Nation unveiled its teaser trailer this week, in which a mysterious, shadowy organization called the Syndicate is trying crush the Impossible Missions Force.

–SPECTRE, the 24th James Bond film, is in the midst of production, featuring a 21st century take on the organization that opposed 007 in the early Bond films.

–Avengers: Age of Ultron, the latest Marvel Studios film is coming out May 1 and may include the latest appearance by Hyrdra, a vast group that infiltrated SHIELD in last year’s Captain America: The Winter Soldier.

–The Man From U.N.C.L.E. movie is due out Aug. 14. It, too, features a mysterious organization. The question is whether it will be Thrush, the “supra nation” that opposed U.N.C.L.E. in the original 1964-68 series.

At this point, all we need Galaxy (two Derek Flint movies) and BIGO (three of four Matt Helm movies) to come back. KAOS, may be lurking as well (having been included in a 1980 theatrical movie and a 1989 made-for-TV film).

The notion of the huge group that, in some cases, was like a shadow government fell out of favor after the 1960s. Bond was the last man standing by 1971 and 007 encountered mostly one-off independent menaces (though some were affiliated with unfriendly governments). At the same time, the cinema Blofeld was the subject of jokes in Austin Powers movies.

What’s more, there were legal disputes about SPECTRE, with producer Kevin McClory saying the rights to the criminal organization belonged to him. A specific reference to SPECTRE boss Ernst Stavro Blofeld was taken out of the script of 1981’s For Your Eyes Only. The script had a line where a mysterious guy who resembled Blofeld said this was the 10th anniversary of his last encounter with 007. Even though it didn’t make the movie, it was too late to take it out of the Marvel Comics adaptation.

SPECTRE teaser poster

SPECTRE teaser poster

By 2012, Eon Productions said it wasn’t even interested in SPECTRE.

“I mean, we’ve talked about Blofeld over the years,” Eon Productions co-boss Barbara Broccoli said in an interview with CRAVE ONLINE. “The thing is Blofeld was fantastic for the time but I think it’s about creating characters that are, villains that are more appropriate for the contemporary world. It’s more exciting for us to create somebody new.”

Eon whistled a different tune after a 2013 settlement with the McClory estate secured the rights to Blofeld and SPECTRE. Recently, Broccoli acknowledged to Empire magazine that SPECTRE is a new take on the old villainous organization. The cast of SPECTRE includes Jesper Christensen, who played Mr. White, an official of a group called Quantum in Casino Royale and Quantum of Solace (the name wasn’t revealed until Quantum of Solace).

Marvel Studios also was bringing back the vast villainous organization. In 2011’s Captain America: The First Avenger, set during World War II, viewers were introduced to Hydra, formed by Hitler but a group that has its own ambitions to take over for itself. In the 2014 Captain America movie, we see Hydra is alive and well and moving forward on its ambitions.

Hydra in the comics made its debut in Strange Tales 135 in a story by Stan Lee and Jack Kirby that introduced Nick Fury, Agent of S.H.I.E.L.D. Later, writer-artist Jim Steranko connected Hyrdra to Fury’s World War II past, establishing that Hydra’s leader was Baron Wolfgang Von Strucker, a World War II foe of Fury’s.

The Man From U.N.C.L.E. teaser poster

The Man From U.N.C.L.E. teaser poster

With M:I, the existence of the Syndicate was teased at the end of 2011’s Mission: Impossible Ghost Protocol. In the original television series, the Syndicate merely was an alternate name for the Mafia. The trailer unveiled this week makes clear the Syndicate is a much larger animal.

Which brings us to Thrush, which U.N.C.L.E. was waging war against in that television series. (At one point, WASP and MAGGOTT were considered as alternate names.) Thrush had vast resources, with thousands of employees on the U.S. West Coast alone. In the show’s final season, Thrush spent billions of dollars in various failed schemes. The Thrush name, however, wasn’t mentioned in the teaser trailer that came out in February.

Why the surge in popularity for such organizations?

Well, Hydra has been part of successful Marvel movies. Also, naming specific countries as being responsible for mayhem can be tricky. In 2002, Die Another Day had the North Koreans as villains. In 2014, North Korea was the leading suspect for being responsible for hacking at Sony Pictures, including leaks of SPECTRE’s script. What’s more, no studio wants to offend China and its vast market for movie goers.

Thus, what is old is new again. Don’t bet against the return of Galaxy and BIGO.

When is it time for 007 actors, or fans, to ‘move on’?

John Cleese and Pierce Brosnan in Die Another Day

John Cleese and Pierce Brosnan in Die Another Day

John Cleese, who appeared in two James Bond movies, has let it be known he doesn’t think that highly of 007 films since he departed the series.

Cleese is promoting a new book, but his association with Bond (in 1999’s The World Is Not Enough and 2002’s Die Another Day) keeps coming up in stories run by DIGITAL SPY SHORTLIST.COM and DEN OF GEEK among other websites.

Here’s an example of what Cleese has said. It’s from ShortList.com, and these comments have been picked up by other sites.

I didn’t see [Skyfall], because I have criticisms of the new Bond movies. Two things went wrong: the plots became so impossibly obscure that even professional writers couldn’t figure out what they were about; and the action scenes, which are supposed to make the adrenaline run, go on far too long. They discovered these movies were popular in places such as the Philippines and South Korea, and so they dropped the humour because no one there is going to understand jokes about the English class system. They’re financially incredibly clever, as the take goes up by $100m every movie, but one of the great things I’ve learnt in the last few years is just how much money spoils everything.

Cleese made some similar comments in June in a RADIO TIMES interview.

In turn, some 007 fans on social media have reacted by saying Cleese is bitter because he wasn’t included in the Daniel Craig reboot, starting with 2006’s Casino Royale, he should “just move on,” or simply “shut up.” Skyfall was a billion-dollar blockbuster, Casino Royale and Skyfall got some of the best reviews of the series, etc.

Of course, if you spend enough time on social media or 007 message boards or other spots on the Internet, you’ll see fans debate things going back 30, 40, almost 50 years. For example, many still don’t like how 1967’s You Only Live Twice jettisoned the plot of Ian Fleming’s novel. Some still strongly criticize the performances of Roger Moore, who hasn’t made a Bond movie since 1985. Some feel the movies went wrong in the early 1970s when the humor element increased. And so on and so forth.

A few questions: When is it time to move on? Ten years? Twenty? Longer? If Cleese should move on, should fans do so as well? Are Cleese’s complaints substantially different than the complaints fan air on the Internet? Where’s the line between being a devoted fan and taking things too seriously?

The answers are going to vary from fan to fan, of course. But Cleese has, probably unintentionally, given something for fans to think about.

The Bond of the 1990s

Pierce Brosnan

Pierce Brosnan

By Nicolás Suszczyk, Guest Writer

Does anyone remember the 1990s?

Beverly Hills 90210, the Backstreet Boys, the fall of Communism, Claudia Schiffer everywhere, the rise of the Nintendo and Sega videogames, Windows, Internet… so much stuff to make us all feel a little nostalgic and perhaps a bit old, too.

Now we can watch once again on YouTube, in that standard VHS quality, we might now consider bad footage of a long haired and beardy man in a dark suit being surrounded by thousands of cameras and photographers, next to producers Michael G. Wilson, Barbara Broccoli and a director called Martin Campbell.

It was 20 years ago. The man was Pierce Brosnan. And this moment was the return of James Bond.

The franchise had its weak moments before, but in the longest gap in the franchise history between 1989 and 1994, Bond seemed really dead, without a chance to survive the post Cold War era or the legal troubles surrounding Danjaq and MGM.

Even with the necessary reboot in 2006 with Casino Royale after the somewhat exaggerated Die Another Day, there was probably no bigger buzz about Bond being outdated than in these five years, for many reasons: (a) Agent 007 was a product of the Cold War, and there was no more Cold War, (b) Licence to Kill was a commercial failure and had weak reviews, and (c) too many years were passing without Bond.

By no means was the return of 007 in the form of Daniel Craig unimportant. It certainly was, but it was expected James Bond would return. By the early 1990s, with only the TV cartoon James Bond Jr. and some telefilm Ian Fleming biopics, the “man on the street” would have many doubts of watching our hero back in the silver screen. Some headlines even called Licence to Kill “007’s final mission.”

This is why June 8, 1994, will be remembered as one of the greatest days in the history of the cinematic agent 007.

With a thousand journalists and photographers from all over the world, Brosnan promised to show us “what is beneath the surface of this man, what makes him a killer,” but also maintain the elements that made him famous: “He’s still a ladies man, yes.”

(Essay continues below the videos)

From that day on, the name of James Bond, sentenced to be part of a retro club subject of conversations years before, was being heard again everywhere, including in Papua New Guinea, where Brosnan, shooting Robinson Crusoe, was recognized by a group of children as the secret agent.

The Brosnan era firmly represented the ‘90s, in the humor, the costumes, the music and the scripts.

GoldenEye (1995) offered us a classic story with some twists. The old Communists were back –- in jokes included –- but also with explicit sex scenes; a metallic and modern score by Eric Serra; and, of course, the inclusion of something that was starting to change our lives, the Internet (Natalya asks for an IBM Computer with 650 MB hard drive, basically one-sixteenth the capacity of our iPad;), the 007 vs 006 rivalty, first time a 00 agent –- a friend of Bond — goes rogue.

Tomorrow Never Dies (1997) opted for a more pragmatic and less brainy idea by having media tycoon Elliott Carver using his empire to make a war between China and Britain (action, action, action everywhere).

The World Is Not Enough (1999), being the last Bond of the 20th century, provided a twist by having as a villain a woman he fell for, with Sophie Marceau having the distinction of being the first female mastermind in a 007 film.

The 40th anniversary adventure, 2002’s Die Another Day, might have been a weak film in many aspects, but it also had its dosage of drama and violence (i.e. a depiction of torture as part of the main titles).

Even when nowadays Pierce says his Bond wasn’t “good enough” and that he doesn’t dare to watch his own Bond movies, his contribution to the franchise was more than memorable and needed.

Brosnan not only resurrected Bond but also brought a new generation of fans. The end of Cold War couldn’t kill James Bond.

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