David Hedison dies at 92

David Hedison (1927-2019)

David Hedison, star of the original film version of The Fly, the Voyage to the Bottom of the Sea TV series and a two-time Felix Leiter, has died at 92, according to various reports, including The Hollywood Reporter.

Hedison died last week and the news was released by a family spokeswoman, THR said.

Hedison’s IMDB.COM ENTRY lists more than 90 acting credits beginning in 1954 and extending into the 21st century.

The actor also was a friend of Roger Moore. “David phoned Roger regularly throughout his final illness in 2017 and was a great support.” according to a tweet from Moore’s official account on Twitter.

The two worked together in an episode of The Saint. They acted together again, with Hedison as Felix Leiter in Live And Let Die, Moore’s debut as James Bond. Hedison reprised the role opposite Timothy Dalton’s James Bond in Licence to Kill.

Hedison also had a relationship with producer Irwin Allen. The actor was in the cast of Allen’s 1960 version of The Lost World.

Allen wanted Hedison for the 1961 film version of Voyage to the Bottom of the Sea but the actor turned it down. Robert Sterling got the part instead. But Hedison signed on when Allen launched the 1964-68 television version.

The first season, shown in black and white, had a lot of espionage and international intrigue stories. As the series progressed, there were a lot of monster story lines.

After Voyage’s run concluded, Hedison didn’t lack for work, often getting guest star parts from producers Quinn Martin (The FBI, Cannon, The Manhunter and Barnaby Jones) and Aaron Spelling (The Love Boat, Dynasty, Fantasy Island).

Here’s the tweet from the Roger Moore account.

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Licence to Kill’s 30th anniversary: 007 falters in the U.S.

Licence to Kill's poster

Licence to Kill’s poster

Adapted and updated from a 2014 post.

Licence to Kill, which had its world premiere 30 years ago today, is mostly known for a series of “lasts” but also for a first.

–It was the last of five 007 films directed by John Glen, the most prolific director in the series.

–The last of 13 Bond films where Richard Maibaum (1909-1991) participated in the writing

–It was the last with Albert R. Broccoli getting a producer’s credit (he would only “present” 1995’s GoldenEye).

–It was the last 007 movie with a title sequence designed by Maurice Binder, who would die in 1990.

–And the it was last 007 film where Pan Am was the unofficial airline of the James Bond series (it went out of business before GoldenEye).

It was also the first to falter badly in the U.S. market.

Economy Class

Bond wasn’t on Poverty Row when Licence to Kill began production in 1988. But neither did 007 travel entirely first class.

Under financial pressure from Metro-Goldwyn-Mayer (which acquired half the franchise after buying United Artists earlier in the decade), Eon Productions moved the home base of the production to Mexico from Pinewood Studios.

Joining Timothy Dalton in his second (and last) outing as Bond was a cast mostly known for appearing on U.S. television, including Anthony Zerbe, Don Stroud, David Hedison (his second appearance as Felix Leiter), Pricilla Barnes, Rafer Johnson, Frank McRae as well as Las Vegas performer Wayne Newton.

Meanwhile, character actor Robert Davi snared the role of the film’s villain, with Carey Lowell and Carey Lowell and Talisa Soto as competing Bond women.

Wilson’s Role

Michael G. Wilson, Broccoli’s stepson and co-producer, took the role as lead writer because a 1988 Writers Guild strike made Richard Maibaum unavailable. Maibaum’s participation didn’t extend beyond the plotting stage. The teaser trailer billed Wilson as the sole writer but Maibaum received co-writer billing in the final credits.

Wilson opted for a darker take, up to a point. He included Leiter having a leg chewed off by a shark from the Live And Let Die novel. He also upped the number of swear words compared with previous 007 entries. But Wilson hedged his bets with jokes, such as Newton’s fake preacher and a scene where Q shows off gadgets to Bond.

Licence would be the first Bond film where “this time it’s personal.” Bond goes rogue to avenge Leiter. Since then, it has been frequently been personal for 007. Because of budget restrictions, filming was kept primarily to Florida and Mexico.

The end product didn’t go over well in the U.S. Other studios had given the 16th 007 film a wide berth for its U.S. opening weekend. The only “new” movie that weekend was a re-release of Walt Disney Co.’s Peter Pan.

Nevertheless, Licence finished an anemic No. 4 during the July 14-16 weekend coming in behind Lethal Weapon 2 (in its second weekend), Batman (in its fourth weekend) and Honey, I Shrunk the Kids (also fourth weekend).

Glen and Maibaum were done with Bond, the latter being part of the 007 series since its inception.

Bond 17’s Fembot

Initial pre-production of the next 007 film proceeded without the two series veterans. Wilson wrote a treatment in 1990 for Bond 17 with Alfonse Ruggiero that included a deadly fembot. Scripts with other scribes were then written based on that treatment. But that story was never made.

That’s because Broccoli would enter into a legal fight with MGM that meant Bond wouldn’t return to movie screens until 1995. By the time production resumed, Eon started over, using a story by Michael France as a beginning point for what would become GoldenEye. Maibaum, meanwhile, died in early 1991.

Today, some fans like to blame MGM’s marketing campaign or other major summer 1989 movies such as Batman or Indiana Jones and the Last Crusade. But Licence came out weeks after either of those blockbusters.

And, it needs to be repeated, Bond couldn’t best Honey, I Shrunk the Kids, which also came out weeks earlier.

In the end, the U.S. audience didn’t care for Licence. The movie’s total U.S. box office of $34.7 million didn’t match Batman’s U.S. opening weekend of $40.5 million. Licence’s U.S. box office was almost a third less than its 007 predecessor, The Living Daylights. Licence to Kill sold the fewest tickets in the U.S. among James Bond films.

Licence to Kill did much better in other markets. Still, Licence’s in worldwide ticket sales represented an 18 percent decline from The Living Daylights.

Blood Is Thicker Than Water

Some 007 fans blame a lackluster U.S. advertising campaign. However, Michael G. Wilson said in 2015 that Eon “really run the marketing ourselves” and the and the studios involved “execute it.” Did that apply to Licence to Kill? Or was Licence somehow an exception?

For Dalton, Glen, Maibaum and even Broccoli (he yielded the producer’s duties on GoldenEye because of ill health), it was the end of the road.

Michael G. Wilson, despite his enormous impact on Licence to Kill, remained in place. Blood (even adopted blood), after all, is thicker than water — or even box office receipts.

007 Magazine comes out with publications for 40th

007 Magazine logo

Graham Rye’s 007 Magazine marked its 40th anniversary this year. It’s coming out with multiple issues this year available for pre-order.

Among them:

–An issue shipping in May featuring ” promotional items and collectables marketing tie-ins for” Bond films in the U.K. and U.S.

–An issue shipping in June. It’s a re-issue from 1995 concerning GoldenEyeAn  and has “been re-mastered, re-typeset, and re-scanned from the original transparencies & photographs and digitally printed for the highest quality reproduction.”

–An issue shipping in June about 1989’s Licence to Kill, the second and final 007 film starring Timothy Dalton.

For more information about ordering these and other issues, CLICK HERE.

MI6 Confidential is out with two new issues

The Spy Who Loved Me poster

MI6 Confidential is out with two new issues, Nos. 49-50, and one of them may be a bit timely.

Issue 49 includes an article about the early drafts of The Spy Who Loved Me.

A number of writers had a go at the 10th James Bond film produced by Eon Productions. Eventually, Christopher Wood and Richard Maibaum got a credit although producer Albert R. Broccoli said in his memoir that he ended up putting it all together.

Something similar has occurred with Bond 25 (albeit without as many scribes). It’s a reminder that the more things change, the more they stay the same.

Other articles in the issue examine Bond’s military pedigree.

Issue 50 includes a look at Licence to Kill ahead of its upcoming 30th anniversary.

Each issue costs 7 British pounds, $9.50 or 8.50 euros. MI6 Confidential also is still taking orders for its 2019 slate of issues.

Rise of the ‘Scooby Gang’ in 007 films

SPECTRE publicity still featuring part of the fan-dubbed “Scooby Gang,” Tanner (Rory Kinnear), Moneypenny (Naomie Harris) and Q (Ben Whishaw).

There’s a fan-generated 007 nickname that has gotten traction these days.

That would be the “Scooby Gang.” It’s shorthand for how supporting characters in the Eon Production film series join Bond out in the field. It’s based on the cartoon series Scooby-Doo, where the Scooby Gang of young people and a dog go out and solve mysteries together.

“Scooby Gang” was used in Buffy the Vampire Slayer, referring to the cartoon show.

Formerly, Bond was a lone-wolf. M would give 007 the mission. Q would provide some gadgets and Moneypenny would flirt before Bond departed the office.

That’s been changing for a while. In 1989’s Licence to Kill, Q (Desmond Llewelyn) goes rogue, as Bond (Timothy Dalton) has. He not only brings along some gadgets, he acts as 007’s assistant.

After Judi Dench came aboard as M in 1995’s GoldenEye, her character’s screen time expanded. That process started with 1999’s The World Is Not Enough where M’s kidnapping is a major aspect of the plot.

Finally, with 2012’s Skyfall, we got a rebooted Moneypenny (now with a first a name, Eve) who we initially see as a field agent. Also, the Judi Dench M scores more screen time than before because she’s a mother figure for both Bond (Daniel Craig) and the villain Silva (Javier Bardem).

In 2013, there was an early indication the Scooby Gang would come together in SPECTRE.

“Naomie Harris is getting more  of the action in the next James Bond film, which starts shooting next year,” Baz Bamigboye of the Daily Mail wrote in a story published on Sept. 12 of that year.

Director Sam Mendes, Craig, and producers Barbara Broccoli and Michael G. Wilson are all big fans of Naomie’s and don’t want her to be too desk-bound, as other Moneypennys have been.

‘The idea formulating in Bond-land is for Naomie to be much more of a sidekick to James, and for her to get out and harm the bad guys,’ an executive close to the production told me.

Meanwhile, Judi Dench/M perished at the end of Skyfall and was succeeded by Mallory (Ralph Fiennes), who has his own impressive military background.

By the end of SPECTRE, M, Moneypenny, Q (Ben Whishaw) and Tanner (Rory Kinnear) are all out in the field helping Bond. And, thus, the Scooby Gang nickname was born. It has appeared on 007 message boards and elsewhere on the internet.

Now, there has been recent fan speculation/questioning whether Fiennes can return to play Mallory/M because of other acting jobs.

In the “old days,” few fans wondered about the availability of Llewelyn, Bernard Lee or Lois Maxwell. The actors only had a few days of work and the focus was on Bond. Llewelyn was absent from Live And Let Die, but most of the publicity and fan attention was on Roger Moore’s debut as 007.

We’ll see what happens next. Meanwhile, here’s an amusing tweet from Phil Nobile Jr., former writer for Birth. Movies. Death and now editor of a new incarnation of Fangoria magazine. He’s a big 007 fan and has written extensively about Bond films in the past.

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Broccoli says major B25 decisions to be made in 2018

Barbara Broccoli

Eon Productions boss Barbara Broccoli, in a long interview with the THR Awards Chatter podcast, said major Bond 25 decisions won’t occur until sometime in early 2018.

Given it’s mid-December of 2017, that’s not terribly surprising. But the podcast is a chance for fans to hear things for themselves.

Asked if “we know” Bond 25’s title or director, she replied: “I don’t. It’s still to be determined.”

Asked about who will distribute the movie, she said, “It’s exciting to be courted. We’ll hopefully be making that decision early next year.”

Gary Barber, CEO of Metro-Goldwyn-Mayer, “is leading this whole crusade,” Broccoli said, referring to the distributor issue.

MGM is home studio to the Bond franchise. The last four 007 films were released by Sony Pictures. With Skyfall and SPECTRE, Sony also co-financed but only got 25 percent of the profits.

MGM is getting back into distribution seven years after exiting bankruptcy. It formed a joint venture with Annapurna Pictures to distribute each other’s movies. But, for now at least, that joint venture isn’t involved with Bond 25.

Broccoli was asked whether Bond 25’s distribution may be split between the U.S. and internationally. “That’s all to be decided in the future,” she said.

Writers Neal Purvis and Robert Wade are “busy working away, trying to come up with something fantastic.”

The producer went into more detail about how went to work for Eon, co-founded by her father, Albert R. Broccoli. Broccoli, 57, doesn’t do a lot of interviews and this one is longer than most. Among the highlights:

Working in her teens on The Spy Who Loved Me: “My job was captioning stills.” She had to do through a lot of film and “you’d have to come up with captions.

Working on Octopussy as an assistant director: “I was basically a runner. I was a third assistant (director).” One of her responsibilities was dealing with a large group of young actresses. “I was responsible for herding them and get them around.”

Associate producer Tom Pevsner was “a mentor to me.” Broccoli said she learned the art of production scheduling from Pevsner. “He taught me about breaking down scripts…He was an incredible man.”

Pevsner joined the series with 1981’s For Your Eyes Only. With 1987’s The Living Daylights and 1989’s Licence to Kill both Broccoli and Pevsner had the title of associate producer. Pevsner’s final Bond film was 1995’s GoldenEye, where he had the title of executive producer. Pevsner died in 2014.

On her working style with half-brother Michael G. Wilson: “Michael and I are very different. Strangely enough, when it comes to Bond, we always agree.”

On 007 actor Daniel Craig: “He brought humanity to the character…making Bond relevant to today.”

Broccoli said she first saw Craig in the 1998 film Elizabeth. “He has the most incredible presence on the screen,” she said of Craig. “He’s lit from within. I remember thinking, ‘What a force.’ I just watched everything he did.”

Craig announced in August he’d return for a fifth film as Bond. Before that announcement, Broccoli said, “My heart was breaking.”

To check out the podcast, CLICK HERE. The Broccoli interview begins at the 40:36 mark and lasts almost an hour. She also discusses her non-Bond movie, Film Stars Don’t Die in Liverpool, in detail as well as talking Bond.

1990: Bond 17 treatment attempts a new direction

Timothy Dalton

In the spring of 1990, Eon Productions attempted to begin a new direction with its James Bond series.

Veterans such as screenwriter Richard Maibaum and director John Glen were gone following 1989’s Licence to Kill.

Michael G. Wilson, co-scripter of the previous five Bond films and stepson of Eon boss Albert R. Broccoli, worked with Alfonse Ruggiero, a television writer-producer whose credits included the crime drama Wiseguy.

For some, Licence to Kill came off as a bit drab. Locations were Key West, Florida, and Mexico. Its villain, Franz Sanchez, was a drug lord. A particularly powerful drug lord, but still a drug lord.

For Bond 17, Wilson and Ruggeiro appeared to want to make things more exotic, for what was intended as Timothy Dalton’s third adventure as Bond. Locations included Japan and Hong Kong.

Also present were robots.

At beginning of a treatment dated May 1990, there was this note: “The robotic devices refered (sic) to in this outline are complex and exotic machines designed for specific tasks and environments. They are to be designed especially for the film for maximum dramatic and visual impact.” More about that later.

The villain of the treatment is Sir Henry Lee Ching, “a brilliant and handsome thirty year old British-Chinese entrepreneur.” His plot is take over Hong Kong from the British and Chinese. His extensive business empire supplies key components for missile guidance, communications, navigation and weapon systems.

The female lead character is Connie Webb, “a beautiful American adventuress in her early 30’s.” She’s a former CIA agent who has gone free lance.

The robots involved primarily are industrial robots that malfunction, causing great calamity. Then, there’s the most sophisticated robot.

Sir Henry has a mistress named Nan. At one point, he emerges from a lovemaking session. “Through the open door Connie spots Nan laying prostrate on the bed behind a curtain of white flowing gauze.”

Later, Bond is reunited with Connie. But Nan appears “in form fitting corset and spandex shorts.” They decide they need to tie Nan up. However, Nan knocks Bond across the room. Connie tries her luck at subduing Nan. It is revealed….

“Nan is a lethal security robot!”

Of course, The Avengers television series had John Steed and Emma Peel deal with the Cybernauts in the 1960s. A few years later, the Austin Powers comedy films would have the International Man of Mystery coping with fembots.

This particular plot would not be produced and financial troubles at Metro-Goldwyn-Mayer contributed to a 1989-1995 hiatus for the 007 series.

However, the 1990 treatment shows that Eon was growing nostalgic for the Aston Martin DB5. Bond ends up driving one that has been revamped by Q. Bringing back the car was an idea that Eon retained.

The DB5 would show up later in the decade in GoldenEye and Tomorrow Never Dies. It appears to be the personal car of Pierce Brosnan’s Bond.

Daniel Craig’s Bond would win a left-handed drive DB5 in a poker game in 2006’s Casino Royale. He drives a right-handed drive DB5 (supposedly the Goldfinger car) in Skyfall and SPECTRE.