Ken Adam to be honored by American Film Institute

Ken Adam

Ken Adam

Ken Adam, the long-time film production designer who died in March, is being honored by the American Film Institute with a film series that runs starting July 9 and into September.

AFI is showing a range of films reflecting Adam’s work, including all seven James Bond films he designed for producers Albert R. Broccoli and Harry Saltzman.

In addition, the series includes The Ipcress File, the first Harry Palmer film that was produced by Saltzman, and Chitty Chitty Bang Bang, the children’s movie based on an Ian Fleming novel that Broccoli produced.

The movies are being shown at the AFI Silver Theatre and Cultural Center in Silver Spring, Maryland.

The dates are as follows. The movies are shown at different times of day and for full details, CLICK HERE.

July 9, 11, 13: Dr. No (1962), the first James Bond film, where Adam’s sets made the movie look more expensive than it really was.

July 10, 12, 14: Goldfinger (1964). Adam, with no access to the interior of Fort Knox, created one from his imagination.

July 16, 20: Thunderball (1965). The Biggest Bond of All and Adam’s work was one of the reasons.

July 17: You Only Live Twice (1967), the first Bond film to toss out an Ian Fleming plot and substitute its own. Adam’s SPECTRE volcano headquarters set was a major highlight.

July 23, 26: Diamonds Are Forever (1971).

July 25: The Seven-Per-Cent Solution

July 31: Around the World in 80 Days (1956), Michael Todd-produced film version of the Jules Verne novel starring David Niven, with various stars making cameo appearances.  Adam is credited as an art director and his name is spelled Adams. The movie’s associate producer was William Cameron Menzies, who helped pioneer the concept of a production designer responsible for the overall look of a film.

Aug. 6, 10: The Spy Who Loved Me (1977), Adam returned after a two-picture absence from the Bond series. His work included the interior of what’s supposed to be a tanker that swallows nuclear submarines.

Aug. 7, 9: Moonraker (1979), Adam’s farewell to the 007 series, where his contributions included a space station.

Aug. 13, 16: The Ipcress File (1965), Adam demonstrated he could handle a more realistic spy film.

Aug. 20, 24: Barry Lyndon (1975), Stanley Kubrick-directed film where Adam won an Academy Award.

Aug. 26, 30, Sept. 1: Night of the Demon (1957)

Aug. 27, 28, 30, Sept. 1: Gideon of Scotland Yard (1958)

Sept. 2, 3, 5: Chitty Chitty Bang Bang (1968). Who better to design a flying car than Ken Adam?

Sept. 3, 6, 8: The Last of Shiela (1973)

Ken Adam's "war room" set from Dr. Strangelove

Ken Adam’s “war room” set from Dr. Strangelove

Sept. 9, 10, 12, 13, 14: Dr. Strangelove (1964): Adam passed on the second Bond film, From Russia With Love, to work with Kubrick on the nuclear war satire. Adam’s biggest contribution was the War Room set, which has inspired production designers and art directors ever since.

Sept. 10: The Madness of King George, which resulted in Adam’s second Academy Award.

 

007 film franchise at mid-year

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

The year is half over and the first six months of 2016 has been a bit of an odd one for the James Bond film franchise.

BIGGEST SURPRISE: The lack of real news.

At the end of 2015, we ran a post about Bond 25 news to look for this year. Have we got egg on our face so far.

Bond 25 distributor selected by Metro-Goldwyn-Mayer, 007’s home studio? Nope.

Bond 25 release date? You can’t have that without a distributor. Bond 25 director revealed? No, again.

Daniel Craig decides if he’s coming back or not? If he has, nobody has said anything officially. The Daily Mail in March and 007 Magazine (in a Facebook post in June) had stories with sources they didn’t identify said Craig has quit.

BIGGEST NEWS THAT ACTUALLY HAPPENED? Obituaries as major series contributors passed away.

Four-time director Guy Hamilton, seven-time production designer Ken Adam and Live And Let Die composer George Martin all died. All left a mark on the 007 films.

Hamilton directed the series’ first mega-hit, Goldfinger. Adam’s stupendous set designs, such as the Fort Knox interior in Goldfinger, in effect created a world for the film Bond to call his own. Martin, the one-time Beatles producer, was instrumental in selling the Paul and Linda McCartney title song for Live And Let Die to producer Harry Saltzman.

Seven-time 007 star Roger Moore took to Twitter following each death. After Hamilton’s death in April, his tweet included this line: “2016 is horrid.” Many fans probably felt the same way.

THINGS TO WATCH: Metro-Goldwyn-Mayer’s finances continued to improve after the 2010 bankruptcy of the studio.

That’s not as sexy a story as whether they’ll be a new James Bond or not. But, potentially, it could be significiant. Various MGM financial turmoils in the 1980s, 1990s and 2000s negatively affected the Bond franchise. So, financial stability at MGM would be a good thing for the film 007.

MGM wants to be a publicly held company in the next three to five years. Presumably, MGM’s interest in the 007 franchise will be a selling point if and when that occurs.

007 (or so) observations about Moonraker

A "guilty pleasure" for some 007 fans

A “guilty pleasure” for some 007 fans

Wednesday, June 29, was the 37th anniversary of Moonraker’s U.S. debut. The 11th James Bond film doesn’t get much love from fans in the 21st century. Yet, it was a huge financial success in the 20th.

With that in mind, what follows are some observations about the film:

001: Drax’s disdain for Britain: This may reflect a few bits of Ian Fleming’s third Bond novel that made it into the movie.

The nationality of Drax (Michael Lonsdale) isn’t specified but he clearly isn’t British. He keeps a British butler around, mostly to boss around.

The Moonraker villain also tells Bond that “afternoon tea” is the U.K.’s greatest contribution to Western civilization. Later (after Bond has investigated Drax’s Venice facilities), Drax makes a comment about not understanding British humor.

002: Bond’s physical stamina: As Bond (Roger Moore) agrees to take a ride in Drax’s centrifuge, Holly (Lois Chiles) says “even a 70-year-old” can take “three Gs” (the force of takeover). Holly says most people “pass out” at seven Gs. Bond withstands *13 Gs* before activating a device he got from Q to escape.

003: One of the best (unheralded) scenes of the movie: Bond further investigates Drax’s Venice facilities. For the Moore version of Bond, this represents one of his deadliest miscalculations.

Bond briefly observes two of Drax’s scientists at work. Visually, there are a number of things to catch the viewer’s eyes. When the scientists briefly walk away, 007 moves in further.

Unfortunately, Bond didn’t leave everything as he left it, and the two scientists die as a result. One of the best shots of the film is one of the scientists dying while Bond watches on the other side of a Plexiglass barrier.

Yes, this sequence included the joke that draws groans from hard-core Bond fans (the John Williams theme from Close Encounters of the Third Kind is the entry code). Still, overall, the sequence is a mostly serious one for a very lighthearted movie.

004: The minister of defense (defence to our British friends) plays Bridge with Drax: Others have made this observation long ago, but it is one of the few direct references to Ian Fleming’s 1955 novel. So we thought we’d mention it here.

005: Bond is a cheapskate! No tip, James? You get to stay in the President’s Suite at an expensive hotel in Rio and you stiff the guy on the tip. In From Russia With Love, Bond (Sean Connery) stuffed his tip in the suitcoat pocket of the guy who took him to his Istanbul hotel room. He shows his contempt while *still* giving a tip.

But here? Come on, Bond! The guy is just trying to make a living!

006: Bond’s brief moment of compassion for a fellow MI6 agent: After almost getting killed by Jaws, the MI6 agent in Rio offers to still help bond. He declines, saying she should get some rest.

007: Bond’s cable car reaction: Only 007 would react to a stalled cable car by going to the car’s roof. Only a CIA agent (Holly in this case) would have a first reaction to grab the nearest chain. Also, how many cable cars have a chain laying around?

008: The special effects of the boat chase weren’t that good, even in 1979: Friend or foe of the movie, this was not a highlight.

Seriously, the Spy Commander saw the film five times in the theater and you can could discern what was real and was special effects.. But Albert R. Broccoli & Co. had the good sense to keep up the pace to get past that.

009: Bond momentarily loses his cool: It only lasts a few seconds, but Bond really is annoyed with Jaws (Richard Kiel) after the henchman fishes 007 out of Drax’s pool.

0010: Some of the walls of Drax’s space station seem to be made of cardboard: Ken Adam (1921-2016) was one of the greatest production designers in the history of film. But a few shots in the climatic space station fight indicate the budget was running low.

0011: John Barry deserves every compliment he’s ever gotten for this film: The veteran 007 composer improves almost every scene in the movie with his score. It might not be his best Bond score, but Barry elevates the film throughout.

0012: This film is unique in the 007 film series:  It’s the one time that Eon Productions founder Albert R. Broccoli more or less didn’t have to worry about the budget.

In the 1970s, United Artists and Eon had to confront whether the 007 film series could continue after Sean Connery left for good and after Eon co-founder Harry Saltzman sold his interest to United Artists.

In the 1980s (and beyond), Eon had to deal with budget issues after Metro-Goldwyn-Mayer acquired UA in the early part of the decade.

For Moonraker, Broccoli really had (almost) Carte Blanche for making a Bond movie. This really was “the money’s up on the screen.”

 

Ken Adam, who created 007’s film world, dies

Ken Adam

Ken Adam (1921-2016)

Ken Adam, who helped create the film world of James Bond, has died at 95, ACCORDING TO AN OBITUARY BY THE BBC.

Adam’s official title was production designer, a duty he held on seven 007 films, starting with Dr. No in 1962 and concluding with Moonraker in 1979.

Part of Ken Adam's handiwork on Dr. No

Part of Ken Adam’s handiwork on Dr. No

With Dr. No, a modestly budgeted film, Adam’s set designs made the movie look more expensive than it really was. An example was a large room where Professor Dent (Anthony Dawson) converses with an unseen Dr. No (Joseph Wiseman).

In a John Cork-directed documentary, Adam described the style as “slightly ahead of its time.” Dr. No’s lair looked fantastic, yet had antiques.

Dr. No was no fluke. The Adam-designed interior of Fort Knox in Goldfinger was attention grabbing. Ian Fleming’s novel never made it inside the U.S. gold depository. Adam made it almost dream like. You could understand why Auric Goldfinger lusted after gold.

Sean Connery may have breathed film life into Fleming’s creation. Ken Adam gave the film Bond a world to inhabit.

Also, over time, Adam altered his style. His early Bond films had rectangle-shaped sets. With The Spy Who Loved Me, he introduced more curved shapes.

Finally, as the Bond films expanded in scope and budget, Adam’s job took on aspects of a construction boss.

The SPECTRE volcano base in You Only Live Twice cost as much or more than all of Dr. No. Its construction at Pinewood Studios caused “hardened” film professionals to give up their lunch hours to watch it being built, sound man Norman Wanstall said in one of the Cork-directed documentaries.

Even more ambitious was The Spy Who Loved Me, featuring the inside of a tanker that swallowed nuclear submarines. Spy got Adam an Oscar nomination. He probably would have won if the movie had come out in 1976. Instead, it came out in 1977 and was up against the first Star Wars film, which got the Oscar in the category.

Adam’s style had a huge impact, not only with other spy films of the 1960s, but well into the 21st century. 2013’s Star Trek Into Darkness had an homage to Adam’s “War Room” set from 1964’s Dr. Strangelove Or How I Learned to Stop Worrying and Love the Bomb.

A giant in his field has left us. But Adam leaves behind an enormous legacy, not only with the Bond series but many other films.

UPDATE: Here’s the tweet Roger Moore sent out about Ken Adam’s passing.

UPDATE (March 13): It took a few days but The New York Times has come out with A VERY DETAILED OBITUARY for Ken Adam.

Also, here’s the tweet from the official 007 account that announced Adam’s death.

Financial behind the scenes of Dr. No, Part III

Terence Young

Terence Young

Film Finances Inc. had agreed to provide a “completion bond” for Dr. No and provide contingency funding to ensure the first James Bond film would be finished.

However, because of continuing cost overruns, Film Finances under its agreement with Eon Productions and United Artists, exercised its right to take over responsibility for the production as it began post production.

According to the 2011 book, A Bond for Bond, published by Film Finances, such an option was supposed to be a last resort. In 1962, Film Finances would end up doing it three times on United Artists movies, including Tom Jones, another film plagued by overruns.

Dr. No producers Albert R. Broccoli and Harry Saltzman and director Terence Young would retain responsibility for creative decisions. Film Finances, however, now controlled the purse strings, author Charles Drazin wrote. The book reproduces documents in the archives of Film Financing.

Post-production included some additional film shooting to complete the movie, including shots of Bond (Sean Connery) in a shaft in Dr. No.’s headquarters, the agent laying on his hotel room when a tarantula arrives and two men exiting a hatch from the “dragon” that patrolled Crab Key.

Originally, these shots were to be performed over two days. With Film Finances now in control, they were done in a single day, April 26, 1962.

Other matters needed to be resolved. There had been 7,000 pounds (almost $20,000 at an exchange rate of $2.80 to the pound) in cost overruns for sets — overages that production designer Ken Adam had anticipated and informed Saltzman about.

Film Finances agreed not to force repayment of the set overruns. In return, Danjaq SA, the holding company for Eon Productions, agreed on April 10, 1962 to grant 5 percent of Dr. No’s profits to Film Finances.

However, Danjaq had the option to buy back Film Finances’ profit participation  for the sum of the 7,000 pounds (for the set overruns) plus an additional 2,500 pounds after Film Finances recovered all money advanced to finance the production. Danjaq ended up exercising the option, Drazin wrote. A copy of the agreement is on page 94 of the book.

Another issue was Terence Young’s compensation. The director had agreed to defer as much as 10,000 of his 15,000 pound fee. More than 8,600 pounds was to be withheld from Young until it “had been earned back at the box office,” Drazin wrote. (page 85)

This didn’t  make Young happy.

“But I do feel, and I feel this most strongly, that Film Finances have behaved very shabbily to put it mildly,” the director wrote in a letter to his lawyer (pages 95-98).

“When I got back from Jamaica, I expected to get a medal for what I had accomplished,” Young wrote. “I have never in my life worked so hard, I have never on any location film had to put up with so many difficulties, and at the end I got no thanks whatsoever but was told Cubby and Harry made a mistake in ever taking me.”

On page 99 and 100, there’s a copy of a memo by Film Finances executive Robert Garrett about Young.

“I do not dispute that Terence Young probably worked very hard on location, but I do suggest he is a director who seems quite incapable of ever making compromises when things do not go smoothly.”

In the end, Dr. No’s final budget was more than 392,022 pounds (almost $1.1 million), according to a copy dated Jan. 11, 1963 filed by associate producer Stanley Sopel to Film Finances (pages 103-106). The sources of the money were 322,069 pounds from a Bank of America loan (the budget before overruns), 10, 063 pounds from United Artists and 59,890 pounds from Film Finances.

Film Finances, in a letter to Eon dated Jan. 21, 1964, said as of Dec. 31, 1963, it had been paid back with interest. From that point forward, author Drazin wrote, Eon would not utilize Film Finances’ services for Bond films.

 Thanks to Gary J. Firuta for loaning the blog his copy of A Bond for Bond.

Financial behind the scenes of Dr. No Part II

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

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

The first day of filming on Dr. No had a bad omen.

Principal photography began Jan. 16, 1962 at the Kingston, Jamaica, airport. Jack Lord, playing CIA agent Felix Leiter, had been scheduled to arrive Jan. 14 and report for work at 8:30 a.m., Jan. 16.

Because of travel complications, Lord couldn’t get to Kingston until 12:20 p.m. on Jan. 16 and didn’t arrive on the set until 2:45 p.m. Sean Connery, playing Bond, and John Kitzmiller, playing Quarrel, had arrived at 8:30 a.m.

“Because of the sun angle, we lost his first shots,” production manager L.C. Rudkin wrote on a unit progress report on Jan. 16, referring to Lord. The Dr. No crew would have to return to the airport the following day, putting the production of the first James Bond film one-half day behind schedule on its very first day.

That report is one of the various documents in the 2011 book A Bond for Bond, describing the travails of Dr. No’s production. The book, by Charles Drazin, focuses on the contributions of Film Finances Inc., the company that provided the “completion bond,” ensuring the movie would be finished.

Nor was that the only delay the Dr. No unit would see.

Day 4: “Bad light and generator breakdown,” according to a summary of location shooting after principal photography concluded. “Nearly day lost yet we shot -” Day 6: “Rough seas made abandonment necessary. Had to move over to location 15 miles.” Day 17: “Rough seas and two locations with retakes.” Day 20: “Rained nearly all day – shot in rain.” Day 24: “Whole beach had to be rebuilt because of hurricane in night, yet we shot.” Day 25: The “dragon” broke down and a safety winch also broke down, causing another half-day delay.

By the end of location shooting, according to this summary, 10 to 12 days of work had been lost and two sequences (“Interior Hotel Foyer” and the interior of Playdell-Smith’s office) would have to be filmed when the production moved to Pinewood Studios in England.

The report also contained this passage: “It is questionable if any other major film, with a similar budget, had ever accomplished the feat of shooting on 22 major different sets in 23 days. This practically Television or ‘B’ picture scheduling, but on this film it was necessary, and had to be done.”

Trouble was also brewing at Pinewood. Production designer Ken Adam had written a letter to Film Finances that the budget for sets was adequate. It wasn’t.

In a Feb. 1, 1962 letter to co-producer Harry Saltzman, and cc’d to his partner Albert R. Broccoli, Adam said set construction, props and set dressing would be more than budgeted. “This is merely a note to make quite certain you have realised this,” Adam wrote Saltzman.

On Feb. 18, Saltzman wrote Film Finances executive Robert Garrett to reassure him about cost overruns — which were exceeding the financing for contingencies that Garrett’s company had provided.

“I must say that (director) Terence Young has behaved tremendously well, despite all our misgivings and I honestly must say that none of the hold-ups have been due to his proclivity from procrastination,” Saltzman wrote. At the same time, the producer wrote that Young still has a “grande seigneur” lifestyle. “He has spent money personally like water.”

Saltzman added, “In spite of all the ulcer-making frustrating situations and the invasion of a good part of our contingency fund, the stuff we have shot here is tremendously impressive and I think well worth our troubles.”

Garrett wasn’t reassured. In a March 16, 1962 letter to Saltzman, the executive outlined budget overruns for publicity, music, studio rentals, insurance and other expenses and said it appeared the pace of production had slowed during filming at Pinewood.

“I must ask you and Cubby to take all possible measures of economy and above all, to see that the schedule position does not deteriorate further,” Garrett wrote. “From the progress to date in the studio we had the impression Terence Young has lost his earlier sense of urgency.”

According to author Draznin, Dr. No had exceeded its budget by 57,027 pounds (almost $160,000) for the week ending March 23, 1962. Principal photography finally ended April 3. By that time, Film Finances took an action it normally considered a last resort.

Thanks to Gary J. Firuta for loaning the blog his copy of A Bond for Bond.

NEXT: Film Finances takes control of Dr. No.

 

TCM has a night of spy films on Jan. 25

TCM logo

Turner Classic Movies will show five spy films the evening of Jan. 25 and early-morning hours of Jan. 26.

Here’s the lineup. All times EST.

8 p.m.: Arabesque (1966), directed by Stanley Donen: Donen had a success with 1963’s Charade, a suspense film that included a bit of humor. That movie also included a score by Henry Mancini and titles by Maurice Binder.

Mancini and Binder reunited with Donen on Arabesque, with Gregory Peck as a university professor who gets involved with spies as well as a woman played by Sophia Loren.

Also present was Charade scripter Peter Stone. However, Stone took an alias (Pierre Marton) and shared the screenplay credit with Julian Mitchell and Stanley Price.

 10 p.m.: The Ipcress File (1965), directed by Sidney J. Furie: James Bond co-producer Harry Saltzman launched a second, less flamboyant, spy film series based on Len Deighton’s novels. This was a source of tension with Saltzman’s 007 partner, Albert R. Broccoli.

The name of Deighton’s spy wasn’t disclosed in the novel that’s the basis of this movie. The character, as played by Michael Caine, was christened Harry Palmer for the film.

For the first of three Palmer films, Saltzman hired a number of 007 film crew members, including composer John Barry, production designer Ken Adam and editor Peter Hunt.

12 a.m.: Our Man Flint (1966), directed by Delbert Mann: The first of two spy comedies with James Coburn as Derek Flint.

The movie takes nothing seriously, with an organization called ZOWIE (Zonal Organization for World Intelligence and Espionage). ZOWIE is headed by Kramden (Lee J. Cobb), who gets exasperated when he’s forced to recruit Flint (who wouldn’t follow orders when Kramden knew him during their military days). Kramden has no choice because ZOWIE computers have pinpointed Flint as the only man who can foil a plot by Galaxy.

The best things about the movie are Coburn’s winning performance as Flint and Jerry Goldsmith’s score. Goldsmith’s music elevates the proceedings. In terms of production values, it looks only slightly more expensive than the television series produced at the time by 20th Century Fox.

2 a.m.: Our Man in Havana (1959), directed by Carol Reed:  The director again collaborates with Graham Greene, who adapts one of his novels. Vacuum cleaaner salesman Alec Guiness is recruited by British spook Noel Coward to do some spying in Cuba before the revolution. The cast includes Maureen O’Hara, Burl Ives and Ernie Kovacks.

4 a.m.: The Prize (1963), directed by Mark Robson: A spy tale starring Paul Newman centered around the Nobel Prizes being awarded in Stockholm. The script is by Ernest Lehman, who wrote 1959’s North by Northwest. Here Lehman adapts an Irving Wallace novel. The cast includes Leo G. Carroll, who was also in North by Northwest and who would shortly take the role of Alexander Waverly in The Man From U.N.C.L.E. Jerry Goldsmith provided the score.

Shoutout to Mark Henderson who brought this up on Facebook.

 

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