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

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.

GoldenEye’s 20th anniversary: 007 begins anew

GoldenEye's poster

GoldenEye’s poster

GoldenEye, the 17th James Bond film, had a lot riding on it, not the least of which was the future of the 007 franchise.

It had been six years since the previous Bond film, Licence to Kill. A legal fight between Eon Productions and Metro-Goldwyn-Mayer had kept 007 out of movie theaters. In 1990, Danjaq, the holding company for Eon, was put up for sale, although it never changed hands.

After the dispute was settled came the business of trying kick start production.

Timothy Dalton ended up exiting the Bond role so a search for a replacement began. Eon boss Albert R. Broccoli selected Pierce Brosnan — originally chosen for The Living Daylights but who lost the part when NBC ordered additional episodes of the Remington Steele series the network had canceled.

Brosnan’s selection would be one of Broccoli’s last major moves. The producer, well into his 80s, underwent heart surgery in the summer of 1994 and turned over the producing duties to his daughter and stepson, Barbara Broccoli and Michael G. Wilson. Broccoli himself would only take a presenting credit in the final film.

Various writers were considered. The production team opted to begin pre-production on a story devised by Michael France.

His 1994 first draft was considerably different than the final film. France’s villain was Augustus Trevelyan, former head of MI6 who had defected to the Soviet Union years earlier. Bond also had a personal grudge against Trevelyan.

Other writers — Jeffrey Caine, Kevin Wade and Bruce Feirstein — were called in to rework the story.  The villain became Alec Trevelyan, formerly 006 and now head of the Janus crime syndicate in the post-Cold War Russia. In addition, the final script included a new M (Judi Dench), giving Bond a woman superior. Caine and Feirstein would get the screenplay credit while France only received a “story by” credit.

In the 21st century, many Bond fans assume 007 will always be a financial success. In the mid 1990s, those working behind the scenes didn’t take success for granted.

“Wilson and (Barbara) Broccoli already knew that GoldenEye was a one-shot chance to reintroduce Bond,” John Cork and Bruce Scivally wrote in the 2002 book James Bond: The Legacy. “After Cubby’s operation, they also knew the fate of the film — and James Bond — rested on their shoulders.”

GoldenEye’s crew had  new faces to the 007 series. Martin Campbell assumed duties as the movie’s director. Daniel Kleinman became the new title designer. His predecessor, Maurice Binder, had died in 1991. Eric Serra was brought on as composer, delivering a score unlike the John Barry style.

One familiar face, special effects and miniatures expert Derek Meddings, returned. He hadn’t worked on a Bond since 1981’s For Your Eyes Only. GoldenEye would be his last 007 contribution. He died in September 1995, before the film’s release.

In the end, GoldenEye came through, delivering worldwide box office of $352.2 million. Bruce Feirstein, who had done the final rewrites of the script, was hired to write the next installment. Bond was back.


Caveat Emptor (Cont.): Future 007 films to be set in ’60s?

Jack Lord, Ursula Andress and Sean Connery relaxing on the Dr. No set

Jack Lord, Ursula Andress and Sean Connery during production of Dr. No in 1962

A British tabloid, the Sunday Express, HAS A STORY saying that Metro-Goldwyn-Mayer plans future James Bond films to be set in the 1960s.

The change would occur after current 007 Daniel Craig departs the role, according to the story.

The tabloid quotes an MGM executive it didn’t identify as saying, “We’ll go forwards by taking 007 back to the era in which we believe he fits most.” The film series started with 1962’s Dr. No.

If true (a major qualification), such a move would be an even bigger change than 2006’s Casino Royale, which hit the reset button and started the series all over. Even with the reboot, Bond films such as the upcoming SPECTRE continued to be set in the present day, rather than as period pieces.

However, the story hints at the possibility of an even bigger change.

According to the Sunday Express, MGM has asked Matthew Weiner, creator and executive producer of Mad Men, “to head a new team to oversee Bond’s return to his heyday 1960s.”

The story doesn’t mention current 007 producers Michael G. Wilson and Barbara Broccoli, who’ve headed up the Bond production team since 1995’s GoldenEye. Wilson, 73, and Broccoli, 55, have been involved with the franchise for decades.

What’s more ownership of the 007 franchise is split between the Wilson-Broccoli family and MGM. That’s a pretty major detail that’s not even mentioned in the story. Do Wilson and Broccoli agree with this? It’s a point that’s not addressed at all.

At this point, caveat emptor — let the buyer beware — applies even more than usual with Bond-related items.

MI6 Confiential looks at GoldenEye

GoldenEye's poster

GoldenEye’s poster

MI6 Confidential is out with a new issue looking at GoldenEye, the 1995 007 that jump started the franchise after a six-year absence.

The issue has several articles on the movie, including an interview with director Martin Campbell.

GoldenEye was the first 007 film since 1989’s Licence to Kill. The hiatus had been marked by a legal fight and a financial reorganization at Metro-Goldwyn-Mayer. Eventually after multiple script rewrites, a new Bond film finally went into production.

The film was Pierce Brosnan’s debut as James Bond, the start of a four-movie run in the role. It was also Judi Dench’s debut as M.

For more information about the issue’s contents and ordering information, CLICK HERE.

The issue costs 7 British pounds, $11 or 8.50 euros, plus postage and handling.

1998: the Purvis & Wade era begins

The World Is Not Enough poster

The World Is Not Enough poster

Neal Purvis and Robert Wade, at six movies and counting, are No. 2 among credited 007 screenwriters, behind only Richard Maibaum at 13. Their tenure began with a first draft script for The World Is Not Enough, submitted June 15, 1998.

The title page says the draft is based on an idea by Maibaum. The copy this blog got from Bond collector Gary Firuta has The World Is Not Enough on the title page, though it’s referred to as Bond 19 on subsequent pages.

The script weighs in at 109 pages. The rule-of-thumb for scripts is they average out at one minute of running time per page. The final movie, released in November 1999, was 128 minutes. The first draft would eventually be rewritten separately by Dana Stevens and Bruce Feirstein. Feirstein would share the screenplay credit with Purvis and Wade.

Overall, the 1998 first draft is closer to the final product than either Michael France’s first draft for GoldenEye or Feirstein’s first draft for Tomorrow Never Dies. There are still significant differences, but the basic plot and many set pieces are present in the initial effort by Purvis and Wade.

The pre-credits sequence of the first draft is similar to the final movie with a couple of major differences. It opens in Havana, instead of Bilbao, Spain. Later, in London, Bond takes off after the woman assassin with a jet pack instead of the gadget-laden Q boat.

Bond uses the jet pack to get ahead of the woman assassin in her boat. She spots him “minus jet pack, standing at the front of a moored ship, feet apart, poised to start firing.” The two fire at each other. She’s hit and “crashes into the side of the ship.”

This sets up a bit of a cliffhanger as an explosion ensues “lighting up the evening sky, enveloping James Bond and burning us into our….TITLES.”

Of course, Bond survives (it’d be a short movie it he didn’t), but after the titles we see a funeral. It takes an exchange between M and Bill Tanner to establish it’s the funeral for businessman Robert King (thus establishing it’s not 007’s funeral). We don’t actually see Bond until the next scene.

In this draft, Q is around for a bit longer than in the final film, which would be actor Desmond Llewelwyn’s final appearance in the role. There’s no “R,” the Q deputy John Cleese would play. There’s also no sign of Robinson, the aide to M who debuted in Tomorrow Never Dies. As a result, Tanner gets more dialogue.

The woman doctor Bond gets to clear him for duty is named Greatrex instead of Molly Warmflash.

The character of Christmas Jones is present, but there’s a bit of a difference. Here, she’s  a “BEAUTIFUL FRENCH POLYNESIAN GIRL,” and “is a mid-twenties, shortish hair, hot right now.”  She also speaks with a French accent.

Her entrance is much like the final movie. When she gets out of protective suit she has “a khaki sports bra, similar shorts, heavy duty boots. Deep tan, incredible figure. Totally unselfconscious.” The part ended up going to American actress Denise Richards.

The biggest structural difference in this draft compared with the movie is that M stays put and doesn’t go out into the field. Thus, M is never kidnapped and put into peril. Later versions of the script added that element, which would be the start of the trend where Judi Dench’s M leaves the office a lot to deal with Bond away from MI6 headquarters. That became a way for the series to provide more screen time for the Oscar-winning actress.

Finally, the first draft — similar to Bruce Feirstein’s first draft for Tomorrow Never Dies — makes occasional references to earlier 007 films.

Besides the jet pack (a nod to Thunderball) in the pre-titles sequence, Bond initially travels to see Elektra King posing as David Somerset (an alias Bond used in From Russia With Love). Here, the David Somerset cover is supposed to be a public relations expert in crisis communications.

Anyway, for Purvis and Wade this was just the start. The duo have made five 007 encores, including SPECTRE, the 24th 007 film that comes out this fall. With SPECTRE, the duo revised drafts by John Logan.



David Letterman’s 007 moments

David Letterman, after 33 years on late-night U.S. television (11 years on NBC, 22 on CBS), is retiring after his May 20 telecast.

One of Letterman’s most memorable moments occurred shortly after his switch to CBS. He interviewed Sean Connery in a segment that opened with an homage to Thunderball.

The 1993 appearance had its ups and downs but is still, after all these years, a Letterman highlight. Connery was on the mend from a serious throat condition so the laughs had an undertone of seriousness.

Take a look:

Two years later, Letterman hosted in show from London. One of those installments included interviewing Pierce Brosnan as filming of GoldenEye was wrapping up.

The visual impact of GoldenEye

GoldenEye's poster

GoldenEye’s poster

By Nicolas Suszczyk, Guest Writer
The gunbarrel opens on a plane that flies over a dam leaving the audience with a breath-taking visual of the landscape. We see a mysterious man running across the dam. More close ups shots follow of the man adjusting a bungee cord.

He jumps. There’s silence as he plunges more than 640 feet.

We are on Arkhangelsk, USSR. The man is trying to gain access to a chemical facility.

We see lots of close-up and detail shots of this man’s blue eyes as well as more takes of his silhouette as he sneaks into the complex’s bathroom.

His face is revealed upside down while greeting a Russian soldier sitting on the toilette right before punching the living daylights out of him. Meet Bond, James Bond.

After a six-and-a-half-year gap in the series, GoldenEye brought James Bond back to the big screen. There were new faces, starting with the secret agent himself, played by Pierce Brosnan in the first of his four Bond films.

GoldenEye also brought to the series a visual impact missing in the five films directed by John Glen, whose basic TV style was one of the few cons of his time in the Bond director chair, in spite of succeeding in bringing the spy back to Earth after the slapstick-ish Moonraker.

Many were responsible for the visual impact of the 1995 film: Director Martin Campbell and his team included cinematographer Phil Méheux, editor Terry Rawlings, second unit director Ian Sharp and, of course, veteran production designer Peter Lamont.

GoldenEye’s visuals feature a lot of ethereal blue skies in the Monaco scenes, a warm orange palette during the beach scenes in Cuba (shot in Puerto Rico), colder blues in the snowy Severnaya and a lot of chiaroscuro techniques in the Statue Park scene where Alec Trevelyan is revealed as the movie’s villain.

Méheux does a superb team work with Rawlings, who provided beautiful editing techniques, particularly the transition between the kiss of Bond and Natalya on the Cuban beach fading into the hearth’s fire and a traveling pan to the couple on the bed inside a cottage.

No less impressive is the thrilling plane crash scene, and the subsequent reveal of Xenia Onatopp’s silhouette rappelling down against the sunlight reflected of an unconscious Bond’s forehead in the jungle.

More brilliant editing by Rawlings can be seen during the film’s many action sequences: the shootout in the St Petersburg Military Archives, i.e. the Russian soldier falling through a glass after being gunned down by a runaway Bond, or the secret agent and his girl Natalya running avoiding the bullets from Ourumov’s troops; or the fight between 007 and Xenia on the hotel’s spa, particularly the way Bond’s quick reflexes work by grabbing the girl and throwing her against the wall before the “foreplay” starts.

Another more explicit fist-fight scene, where Bond has his ultimate showdown with the treacherous Trevelyan inside the giant antenna, not only features a sharp editing that harkens back to 1969’s On Her Majesty’s Secret Service (Bond vs Che Che) and 1963’s From Russia with Love (Bond vs Red Grant), but also reworks the Méheux’s chiaroscuro previously seen in the statue park and the nerve gas facility.

The GoldenEye director of photography is equally skilled in choosing unusual and dramatic shots during quick moments: the supine take of Brosnan being frisked by Alec guards, the zoom-in on Bond’s desperate eyes while trying to level off the plane falling through the cliff or the reflection of the Tiger missiles on them later, or the fast shot of the severely wounded Trevelyan right before the whole antenna structure falls over him, a resort he also used effectively in The Mask of Zorro (1998) and The Legend of Zorro (2005), both directed by Martin Campbell.

Of course none of this could have been done with success if it wasn’t by the perfect tandem ofCampbell and Ian Sharp. Both the dialogue scenes and the action scenes shot by the second unit are joined together in a very effective way. The action scenes in GoldenEye from the bungee jump to the spy vs spy battle above the antenna dish look tidy and planned with intelligence, in a way every action scene has its reason to be in each particular moment.

Last but not least, we owe must credit Peter Lamont the materialization of each one of the locations described in the tale from Michael France, Jeffrey Caine and Bruce Feirstein. The interiors like the bottling-room of the Arkhangelsk facility, the Severnaya Space Weapons Center and Janus’ Base computer rooms, all of them built on the Leavesden Studios from scratch, just like the statue park with sculptures by Brian Muir and the recreation of the streets of St Petersburg, when the production was unable to shot the epic tank chase on location in Russia.

The remaining bits of the visual impact of the first Bond film of the 1990s is given by designer Daniel Kleinman, hired after his work on Gladys Knight music video for Licence to Kill. He took the freedom of giving a traditional element like the opening gunbarrel shot a sleek and dynamic digital look and he made history with the film’s opening credits: red, purple and gold are seen while lingerie-clad women destroy soviet icons and statues in synchrony with Tina Turner’s powerful main title song.

GoldenEye breathed fire into the Bond series putting a big step on a new era not only in a historical way, but also in a very sharp graphic and gorgeous way.

Nicolas Suszczyk is editor of The GoldenEye Dossier.


Get every new post delivered to your Inbox.

Join 215 other followers