Jack Whittingham’s daughter talks about her father

Cover to The Thunderball Story

Sylvan Whittingham Mason, daughter of screenwriter Jack Whittingham, discused her father and her limited-edition book, The Thunderball Story in an interview with the blog.

Jack Whittingham (1910-1972) was hired to pen a script while Kevin McClory collaborated with 007 creator Ian Fleming to try to launch a James Bond film in the late 1950s and early ’60s.

That initial effort faltered, but was the heart of a 1960s court case that would have an impact on the cinematic 007 for decades.

McClory would gain the film rights to Fleming’s Thunderball novel, written by Fleming after the film project ended. McClory would work in partnership with Eon Productions for 1965’s Thunderball. He’d try to compete with Eon with projects based on his Thunderball film rights. One emerged (1983’s Never Say Never Again) while nothing came of other attempts.

The interview was conducted by email. Some of the answers were edited for length. Thanks to Shane Whaley of the Spybrary podcast and Facebook page for making introductions for the interview.

UPDATE 3:45 p.m. New York time: Readers of the blog have advised the book isn’t available in the United States.

UPDATE 5:45 p.m. New York time: Sylvan Whittingham Mason advises the book can be ordered in the U.S. CLICK HERE for the Kindle version.

SPY COMMAND: Just how did your father come to be involved in the late 1950s/very early 1960s film project?

SYLVAN WHITTINGHAM MASON: In 1959, My father was a writer for hire, having just left Ealing studios to go free-lance, where he had been been part of the Ealing team, and had been writing screenplays for 14 years. Kevin McClory was looking for an experienced screenwriter to work with Ian Fleming on a James Bond movie, and approached MCA agent, Bob Fenn who suggested my father.

SC: How did your father come to be the forgotten man of Thunderball?

SWM: My father was at the height of his career; he had a six bedroom house in a leafy Surrey stockbroker belt, and two children in private education.

However, sometime after proceeding with Kevin McClory as co-plaintiff against (Ian) Fleming and (Fleming friend Ivar) Bryce, and watching the case mushroom out of all proportion, he realised that Kevin, (who had Bobo Sigrist’s Hawker Siddeley fortune behind him should he fail,) had everything to gain but nothing to lose. My father, who had no one backing him, had nothing to gain and everything to lose as he had been paid for the original screenplay and had transferred his rights (of whatsoever nature) to Kevin.

He stepped down as co-plaintiff and became principal witness supporting Kevin completely for the remainder of the proceedings, thus reducing the risk of bearing the potentially enormous cost of a case that could be of no financial compensation to him should they lose.

His own case against Fleming for professional damages and false attribution, etc. was scuppered when Fleming’s final heart attack put an end to it.

SC: The Thunderball affair has been examined in detail, including The Battle for Bond by Robert Sellers. What will readers learn with this new book?

SWM: There are some new quotes and several photographs that have not been widely seen before, but most of the information, as you rightly say, came from ‘The Battle For Bond,’ in which the information for that book (regarding my father and Kevin,) originally came from me, as I hold a complete set of both plaintiff’s court case papers, and so was able to provide absolutely accurate source material to my esteemed friend Robert Sellers.

However, my aim with this small book was to present my father’s enormous contribution to the 007 phenomenon in a simple, concise way that, not just the serious James Bond aficionado who is happy to trawl through some 400 pages of small writing in ‘The Battle For Bond’ could enjoy, but for everybody who finds it hard to grasp this somewhat complex tale.

I have been asked so many times to explain what happened. I always start off by saying, “I’ll try and keep this as brief as I can.” Before I am half way through the story, eyes start to glaze over, and very few people actually “get” that Ian Fleming did not write the THUNDERBALL novel or the THUNDERBALL screenplay, and the character of Bond in his books was not the same character that appeared in the films, though he did bear the same name. One of my closest friends remarked recently after reading my book, “At last I see clearly exactly what happened!”
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SC: What would you say your father contributed to Thunderball?

SWM: My father contributed a screenplay that catapulted a popular set of seven well (but not brilliantly) written books with a rather stuffy Bond character who wore pin striped suits, carried an umbrella and drove a Bentley, and who was somewhat lacking in charm or charisma, into the raised eyebrow, charismatic, charming, suave, tongue in cheek, superstar character we know and love today.

Screenplay title card for Thunderball (1965) that references Jack Whittingham’s earlier script

His professionally written screenplay was the pivot between the books being turned down by all the film studios for being too misogynistic, violent and unbelievable, and a film project that had the top movie makers queuing up.

This very first screenplay was plagiarized on 105 pages in Fleming’s novel of Thunderball, and was the basis for that book and for the final screenplay that emerged from the book that was based on the first screenplay.

Without my father’s first screenplay, it is entirely possible that the film James Bond phenomenon as we know it today might never have taken off at all and would probably have never progressed further than the 1967 spoof version of Casino Royale.

Jack Whittingham’s daughter publishes a Thunderball book

Cover to The Thunderball Story

Sylvan Whittingham Mason, daughter of screenwriter Jack Whittingham, has published a book about her father’s work on what would become Thunderball, the fourth James Bond film.

The book, which is available on Amazon, is titled The Thunderball Story: The Untold History of the First James Bond Screenplay. Here’s the description on Amazon:

“The story is the most fascinating and controversial in the entire history of James Bond. It began way back in 1958 when maverick Irish producer, Kevin McClory collaborated with 007 creator Ian Fleming and screenwriter, Jack Whittingham on a screenplay that was eventually entitled ‘THUNDERBALL’.” (Robert Sellers – “The Battle for Bond”) Jack Whittingham’s daughter, Sylvan – one of the few people left alive still alive from that time – provides an unique and personal insight into the untold history of the very first James Bond screenplay.

Jack Whittingham (1910-1972) doesn’t get as much attention as the other players in the Thunderball saga. Kevin McClory took on Ian Fleming in court and eventually received the film rights to the novel. An attribution would be added to the book that it was based on a story by McClory, Whittingham and Fleming.

McClory cut a deal with Eon Productions and Thunderball became the fourth film in the Eon series. McClory in the 1970s battled Eon in court as well amid attempts to make a new film based on the novel. Eventually, Never Say Never Again, a Thunderball remake, was released in 1983.

Some collectors have a copy of an early 1960 draft by Whittingham for McClory. At that point the title was Longitude 78 West. In that script, the villains, led by Largo, belong to the Mafia. Other scripts would be written before the McClory project ran aground. Fleming would use the work as the basis for his Thunderball novel and the legal fights began after it was published. Writer Robert Sellers’s book The Battle for Bond covered that history. (You can CLICK HERE to view a 2015 interview the blog did with Sellers.)

The Thunderball Story is priced at 16.99 British pounds. For more information, CLICK HERE.

UPDATE OCT. 27: The original Amazon description was changed from saying Sylvan Whittingham Mason was “the only person still alive from that time” to saying she was “one of the few people left alive still alive from that time.” So the post has been edited today, Oct. 27, to reflect that. See a comment from another Whittingham below.

1970s: McClory enlists Connery, Deighton for a 007 script

Title page to the 1978 Warhead script.

Kevin McClory had struck it big in 1965. Holding the screen rights to Thunderball, he had been, in effect, made a partner by Eon Productions on the film adaptation. It was a big hit.

Under terms of his deal, McClory wasn’t to attempt another Thunderball-related project for a decade. Once that time elapsed, McClory decided to do just that.

This time, he enlisted Sean Connery, now the former 007, and author Len Deighton, who had performed uncredited work on the screenplay of From Russia With Love.

The trio’s names would be attached to a script titled James Bond of the Secret Service in 1976 and Warhead in 1978. The 1976 script is online, uploaded by 007Dossier.com. I dug out a copy I had of the 1978 effort. Meanwhile, the BBC on July 26 ran a story about the Warhead script.

The two are very similar with key differences. James Bond of the Secret Service is like Thunderball. Blofeld is the behind the scenes mastermind while Largo is the operational commander.

In Warhead, Blofeld (identified as Ernst Stavros Blofed, with the extra “s” in the middle name) performs both functions. The name Largo inadvertently appears a couple of times in my copy of Warhead, as if somebody forgot to remove it.

SPECTRE operates a mammoth underwater operation. In 1976, it’s called Arkos. In 1978, it’s named Aquapolis. The earlier script includes a large thug named Bomba, described as “a black man of gigantic proportions.” The 1978 script the henchman is called Ghengis, “a Mongloian of gigantic proportions.”

More Ambitious

SPECTRE, in both scripts, has gotten more ambitious than it had been in the Eon film series. It’s responsible for missing aircraft in the Bermuda Triangle (apparently because it can). It’s already extracting gold and other substances from seawater.

And this time out, SPECTRE aims to take control of the world’s oceans.

“My first act will be to stop all pollution,” Blofeld says in both scripts. “Each government will answer to me for any desctive elements coming in to our oceans. I will give them six months to cease using our oceans as umping grounds for their sewage, filth, poisons, chemicals and atomic waste.”

SPECTRE’s plan to accomplish all this includes robot sharks and nuclear warheads from a Soviet submarine the criminal organization has disabled.

Familiar Tale?

By this point, the average Bond fan is probably observing all this sounds familiar to The Spy Who Loved Me, the 10th film in Eon’s film series.

That 1977 movie featured villain Karl Stromberg, an industrialist who operated a mammoth installation called Atlantis and who was alarmed about environmental damage to oceans. He, of course, had a large henchman named Jaws. The story line emerged from the contributions of many writers besides the credited Christopher Wood and Richard Maibaum.

Indeed, there were court fights between Eon and McClory during this period. The result was that Eon and United Artists proceeded with Spy while McClory stayed on the sidelines.

In James Bond of the Secret Service/Warhead, we don’t encounter Bond himself until the scene switches to Shrublands. This story turned Schrublands from a health clinic into an “aquatactical centre,” which trains operatives of various countries, including the U.K. and U.S.

Here’s a stage direction from the Warhead script:

Along the beach, barbed wires comes down to the sea. JAMES BOND is having sun oil aplied to his body by a girl instructor, an exceptionally athletic and attractive fair-haired girl, JUSTINE LOVESIT. He is reclining in the shade of an old gun emplacement.

Perhaps she’s a cousin of Lovey Kravezit from the Matt Helm movie series. The dialogue here is certainly similar to a Helm movie with Dean Martin.

BOND
Call me James. And what’s your name?

LOVESIT
Justine Lovesit.

BOND
She does?

LOVESIT
My name is Justine.

BOND
(laughs)
Well, I’ll call you ‘Just’ for short.

Anyway, Bond and Felix Leiter meet up at Schrublands. They have an exchange that appears to reference scandals of the era involving the CIA and FBI.

“Good to see you, Felix,” Bond says. “So the Russians haven’t put you behind bars yet.”

“No, but Congress nearly did,” Leiter replies.

Dr. Blush

A briefing is conducted because SPECTRE has contacted the United Nations and “the leaders of the governments of five great powers” in the words of Gardner Steer, a CIA official. SPECTRE has already killed the UN secretary general, disabling his plane as it flew threw the Bermuda Triangle.

Meanwhile, SPECTRE agent Fatima Blush lurks about as a memeber of the medical staff. Bond quickly takes interest. “Well, if the party’s off, perhaps you’d like to give me my physical tonight, Dr. Blush,” the British agent says.

Also, at one point, Bond is scheduled is play Largo/Blofeld (depending on which script) in a backgammon game. But M orders Bond not to participate so we don’t get to see any such confrontation.

Eventually, the story results in a climax in New York City and at the Statue of Liberty. Naturally, the plot is foiled, the villain vanquished.

None of this would make the screen. A Thunderball remake finally became reality in 1983 with Never Say Never Again.

McClorry was aboard with the title of executive producer. But it was producer Jack Schwartzman (1932-1994) who did the heavy lifting, securing Sean Connery’s services to make one final appearance as 007.

Never Say Never Again’s 35th: Battle of the Bonds round 2

Never Say Never Again's poster

Never Say Never Again’s poster

Adapted from a June 2013 post. An epilogue is added at the end.

Never Say Never Again marks its 35th anniversary in October. The James Bond film originally was intended to go directly up against Octopussy, the 13th film in the 007 film series made by Eon Productions, that came out in June 1983.

Sean Connery, after a 12-year absence from the role, was going to make a James Bond movie his way. Warner Bros. and producer Jack Schwartzman had made the actor the proverbial offer he couldn’t refuse. He was not only star, but had approval over various creative aspects. He had much of the power of a producer without the responsibilities.

Schwartzman, an attorney turned film producer, took charge of a long effort to make an non-Eon 007 film. Kevin McClory, who controlled the film rights to Thunderball, had been trying to mount a new production since the mid-1970s with no success. Schwartzman became the producer, with McClory getting an executive producer credit and both men “presenting” Never Say Never Again.

McClory, at one point, had attemped a broader new 007 adventure. Never Say Never Again was only supposed to be a remake of Thunderball. Lorenzo Semple Jr., who had scripted non-serious (the pilot for the Adam West Batman series) and serious (Three Days of the Condor) was hired as writer. Irvin Kershner, who had directed The Empire Strikes Back, was brought on as director. As an added bonus, Kershner had a history of working with Connery on the 1966 movie A Fine Madness.

“As far as I’m concerned, there never was a Bond picture before,” Kershner said in quotes carried in the movie’s press kit. “There is a certain psychological righness to the characters as (Ian) Fleming saw them. He understood people very well. He was an observer of life and that’s what makes him a good writer. I tried to maintain that quality in the film. I wanted the people to be true.”

By the Way

Starlog magazine devoted a cover to the “Battle of the Bonds” in 1983.

Not mentioned in the press kit was the fact that Connery, who had script approval, objected to Semple’s effort. As a result, at Connery’s urging, Dick Clement and Ian La Frenais were hired to rewrite but didn’t get a credit.

The end result was a storyline that veered from a version of Largo who’s clearly off his rocker to goofy gags involving the likes of British diplomat Nigel Small-Fawcett (Rowan Atkinson). Perhaps Connery really meant it when, in 1971, he called Tom Mankiewicz’s lighthearted Diamonds Are Forever script the best of the Eon series up to that point.

Also present in Never was an over-the-top SPECTRE assassin, Fatima Blush (Barbara Carrera), a far wilder version of Thunderball’s Fiona Volpe (Luciana Paluzzi). In Thunderball, Bond tells Domino (Claudine Auger) her brother has been killed in a dramatic scene on a beach. In Never, he tells Domino (Kim Basinger) in the middle of a tango in a campy scene with loud music playing on the soundtrack.

‘Sean’s Warmth’

Speaking of music, composer Michel Legrand was recruited by none other than star Sean Connery, according to Jon Burlingame’s 2012 book, The Music of James Bond. According to the book, Legrand felt burned out after working on the movie Yentl. “Sean’s warmth and enthusiasm persuaded me,” Legrand is quoted by Burlingame. Legrand’s score is a sore point with fans, who still give Connery a pass for his role in bringing Legrand to the film.

Understandably, fans prefer to focus on Connery’s performance in front of the camera, rather than decisions he made behind it. The actor, who turned 52 before the start of production in 1982, looked fitter than his Eon finale, Diamonds Are Forever.

A survey of Her Majesty’s Secret Servant editors some years ago (the survey is now offline) reflects admiration for his acting while mostly downplaying his decision making behind the scenes.

At the box office, Never Say Never Again did fine while trailing 1983’s Eon entry, Octopussy, $55.4 million to $67.9 million in the U.S. The Schwartzman production had been delayed by four months compared with Octopussy.

Years later, Connery was seen on a CBS News show, saying that Never had “a really incompetent producer.” For Schwartzman, things didn’t end happily. He died in 1994 at the age of 61 of pancreatic cancer.

Connery remained a star until he retired from acting in the early 2000s. Eon and Metro-Goldwyn-Mayer eventually gained control of the rights to Never Say Never Again.

Cover to Bondage No. 12, 1983

2018 epilogue: Like Octopussy, Never Say Never Again polarizes fans. Maybe more so.

Bond fans who never warmed to Roger Moore say the movie is just fine and superior to many of the 007 offerings of Eon Productions during this era. Evidently, Nigel Small-Fawcett’s goofiness is better than the goofiness of, say, Eon’s Sheriff J.W. Pepper.

During this time, there was a U.S.-based 007 fan publication, Bondage. You got the idea whose side Bondage was taking with the “Battle of the Bonds.” Issue No. 12’s cover had a publicity still of Connery from Never Say Never Again.

“Sean Connery returns in NEVER SAY NEVER AGAIN,” read the cover blurb. “Plus Octopussy.” The publication devoted a second cover to Never Say Never Again in 1984.  (The Book Bond website ran a 2014 story showing all the covers from 1974 to 1989.)

Meanwhile, to this day, pro-Eon fans still curse the name of Kevin McClory. I’ve seen comments from 007 fans on message boards who abhor Never Say Never Again simply because it’s not an Eon product.

For me, Connery is my favorite Bond actor. But looking back, I suspect Connery discovered being a (de facto) Bond producer is a lot harder than it looks.

There have been fan efforts of re-editing parts of the movie, including one with an Eon gunbarrel logo (putting Connery’s head on top of Timothy Dalton’s body) and overlaying John Barry scores from the Eon series.

Decades after its release, Never Say Never Again still gets a rise out of fans, regardless of their opinion.

1 million page views later

Today, Aug. 1, The Spy Command reached 1 million page views. Sounds like a big number but it’s actually pretty modest for the internet. But it’s not bad for a blog with a niche audience.

The blog’s best day for views was Nov. 15, 2013. That’s when it published a post with the press release that Danjaq LLC (parent of Eon Productions) and Metro-Goldwyn-Mayer had reached an agreement with the Kevin McClory estate.

The deal brought all rights that had been held by McClory into the Danjaq-MGM fold “thus bringing to an amicable conclusion the legal and business disputes that have arisen periodically for over 50 years,” according to the statement. Thus, the Eon 007 series could again use Ernst Stavro Blofeld and SPECTRE without fear of legal action.

That, however, was not the most viewed post in the history of blog. That honor goes to a post quoting Guy Ritchie that his first choice for Napoleon Solo in a movie version of The Man From U.N.C.L.E. was Brad Pitt.

Who’d have thought? Perhaps more surprises lay ahead.

Nobody does it better: 40 years of The Spy Who Loved Me

The Spy Who Loved Me poster

By Nicolas Suszczyk, Guest Writer

Four decades after its theatrical release (on that apt 7/7/1977 date) , The Spy Who Loved Me remains one of the most beloved James Bond films — not only for the Roger Moore era but the entire Eon Productions series.

Moore himself declared a couple of times this was his favorite Bond film. His preference for this film was understandable.

The film’s production had a rough start. In 1975, shortly after the release of The Man With The Golden Gun, Harry Saltzman sold his share of the Bond rights to United Artists after facing serious debts and personal problems, leaving Albert R. Broccoli as sole producer.

Eon Productions was not allowed by contract to use anything from Ian Fleming’s 1962 novel except for the title. It is known that the James Bond creator wasn’t happy with his most peculiar book, written in first person from the viewpoint of Vivienne Michel, a young girl attacked by goons in a motel in the United States and rescued by James Bond.

Various writers were hired to devise a story. Christopher Wood and Richard Maibaum would receive the screenplay credit. Guy Hamilton departed the project, originally set for a 1976 release. Finally, Lewis Gilbert, who directed You Only Live Twice a decade before, was hired.

Attempts to bring back Ernst Stavro Blofeld and SPECTRE were cancelled after Thunderball producer Kevin McClory threatened with legal action. Nevertheless, scribes Wood and Maibaum penned a suitable Bond extravaganza that pleased audiences.

In the process from the script to screen, a huge set was built at Pinewood Studios to double for the tanker owned by the villain. Claude Renoir’s camera captured the exotic beauty of turistic spots like Sardinia and Cairo. In Egypt, the crew was constantly monitored by the government. The catering service was a disappointment, leaving Cubby Broccoli to step up and personally cook spaghetti for the whole crew.

The Spy Who Loved Me stands out as an improvement for the Moore 007 movies. After two entertaining but rather “cheap” Bond films, this third Moore/Bond adventure looks expensive.

The action scenes are tidy and organized proving to be a perfect syncronization between the soundtrack, the cinematography, the stunt team and Lewis Gilbert’s experience in delivering an extraordinary adventure in the scale of You Only Live Twice.

Also notable was the work of the model unit to turn Bond’s white Lotus Espirit into a mini submarine, which he uses to explore the villain’s lair beneath the Sardinian seas (actually shot in The Bahamas, as were most of 007’s underwater sequences).

However, honors for The Spy Who Loved Me should go for a very brave man who performed an unforgettable stunt.

1975 trade advertisement for The Spy Who Loved Me before Harry Saltzman sold out his interest in Bond

Rick Sylvester got on his skis and slided trough the snowy summit of Canada’s Mount Asgard. He jumped off a cliff and opened a Union Jack parachute. This moment that won cheers and applause over cinemas across the United Kingdom almost killed Sylvester when one of the abandoned ski poles nearly punctured the parachute.

Roger Moore kept his grace in his third Bond film. He dashingly wears a Royal Navy uniform and has the USS Wayne submarine troops in charge before a big scale gunfight takes place against the villain’s forces. He lets an assasin fall to his death after extracting him information. And, bravely, he tells her KGB companion Anya Amasova that he was responsible for the death of her boyfriend. “In our business, Anya, people get killed.”

Barbara Bach lacked acting talent as the leading lady. This weak aspect was compensated by Curt Jurgens magnificient performance of Bond’s nemesis Karl Stromberg who tries to ignite World War III as the initial step for the inception of a world beneath the sea.

However, the most memorable character in the film’s rogue gallery was Richard Kiel’s Jaws, the giant with steel teeth who would return to join the side of good in the next film, Moonraker. The popularity of Jaws was so big that Richard Kiel shared his likeness for three Bond videogames: GoldenEye 007 (1997), Everything or Nothing (2003) and 007 Legends (2012).

Marvin Hamlisch delivered a score in tone with the times, influenced by the Bee Gees music and the late 1970s disco tunes but also with the dramatic tunes some moments require, such as the tanker battle near the end.

Particularly good are his remixes of the classic James Bond Theme that heralded the many action sequences of the film. For the main title song, Hamlisch and lyricist Carole Bayer Sager took inspiration from Mozart and created the immortal ode to Bond: “Nobody Does it Better,” a title that could very well also fit the effort to deliver a Bond film with capital B.

The Spy Who Loved Me’s 40th: 007 rolls with the punches

The Spy Who Loved Me poster

The Spy Who Loved Me poster

The Spy Who Loved Me, which debuted 40 years ago this year, showed the cinema 007 was more than capable of rolling with the punches.

Global box office for the previous series entry, The Man With the Golden Gun, plunged almost 40 percent from Live And Let Die, the debut for star Roger Moore. For a time, things got worse from there.

The partnership between 007 producers Albert R. Broccoli and Harry Saltzman, unsteady for years, ruptured. Eventually, Saltzman was bought out by United Artists, leaving Broccoli in command. But that was hardly the end of difficulties.

Kevin McClory re-entered the picture. He had agreed not to make a Bond movie with his Thunderball rights for a decade. That period expired and McClory wanted to get back into the Bond market. Eventually, court fights permitted Broccoli’s effort for the 10th James Bond movie to proceed while McClory couldn’t mount a competing effort.

But that still wasn’t the end of it. Numerous writers (among them, Anthony Burgess; Cary Bates, then a writer for Superman comic books; future Animal House director John Landis; and Stirling Silliphant) tried their hand at crafting a new 007 tale.

Finally, a script credited to Christopher Wood and Richard Maibaum, with uncredited rewriting by Tom Mankiewicz, emerged.

Guy Hamilton originally was signed to direct his fifth Bond movie but left the project. That paved the way for the return of Lewis Gilbert, who helmed You Only Live Twice a decade earlier. It was Gilbert who brought Christopher Wood to work on the script.

The final film would resemble Twice. Spy had a tanker that swallowed up submarines where Twice had an “intruder missile” that swallowed up U.S. and Soviet spacecraft.

With Saltzman gone, Cubby made his stepson, Michael G. Wilson, a key player in the production. Wilson was already on the Eon Productions payroll and was involved in the negotiations that saw Saltzman’s departure.

For Spy, Wilson’s official credit was “special assistant to producer” and it was in small type in the main titles. However, Spy was that downplayed Wilson’s role. An early version of Spy’s movie poster listed Wilson, but not production designer Ken Adam, whose name had been included in the posters for Twice and Diamonds Are Forever.

UA, now in possession of Saltzman’s former stake in the franchise, doubled down, almost doubling the $7 million budget of Golden Gun.

In the end, it all worked. Bond shrugged off all the blows.

Spy generated $185.4 million in worldwide box office in the summer of 1977, the highest-grossing 007 film up to that point. (Although its $46.8 million in U.S. ticket sales still trailed Thunderball’s $63.6 million.)

Roger Moore, making his third Bond movie, would later (in Inside The Spy Who Loved Me documentary) call Spy his favorite 007 film.

The movie also received three Oscar nominations: for sets (designed by Adam, aided by art director Peter Lamont), its score (Marvin Hamlisch) and its title song, “Nobody Does It Better” (by Hamilsch and Carole Bayer Sager). None, however, won.