Two 007 facts amid the speculation

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

What follows are two 007-related facts. They don’t necessarily connect to one another.

On the other hand, you see so much on social media, we thought we’d mention them, for what they’re worth.

–It’s Metro-Goldwyn-Mayer’s choice, not Eon Productions’, what studio will distribute Bond 25.

That’s not this blog talking. It’s Michael G. Wilson, Eon’s co-boss. He gave an interview late last year portions of which are on YouTube.

“It’s not primarily our decision,” Wilson said. “MGM will…it’s their responsibility.” Wilson said, at the time. He also said that Eon had met with studios (he didn’t specify which ones) which were interested in releasing Bond 25 for MGM.

Sony Pictures has released the last four 007 films but its most recent two-picture deal expired with SPECTRE.

–Barbara Broccoli’s current non-Bond film has a relatively short filming schedule. 

According to the Screen Daily website, the Eon co-boss’ drama, Film Stars Don’t Die in Liverpool, is scheduled to wrap filming on Aug. 8. Principal photography began in late June and is based at stages that are part of an expansion at Pinewood Studios.

A producer’s job, of course, doesn’t end with filming. A producer oversees various post-production tasks — editing, sound work, music, etc.

Meanwhile, Screen Daily also refers to the movie as a “passion project” of Broccoli’s. The movie is based upon the memoirs of British actor Peter Turner, who had a relationship with American actress Gloria Grahame. Broccoli acquired the film rights more than 20 years ago, according to Screen Daily.

At the same time, Eon has various other pending non-007 projects. So, there’s no telling how many will take up Broccoli’s time before she turns her attention to Bond 25.

 

UK voters disregard Craig, 007 producers on Brexit vote

Daniel Craig photo opposing Brexit

Daniel Craig photo opposing Brexit

UK voters weren’t swayed by 007 (both the actor playing him and the producers employing him).

Britain voted Thursday to depart the European Union. Daniel Craig, who played James Bond for four movies, and Eon Productions co-bosses Barbara Broccoli and Michael G. Wilson were among celebrities and movie producers who had publicly urged voters to stay in the EU.

The Thursday vote is “a historic decision sure to reshape the nation’s place in the world, rattle the Continent and rock political establishments throughout the West,” Steven Erlanger wrote in a story in The New York Times.

Craig had been among celebrities, including former soccer star David Beckham, who came out in support of the UK staying in the EU. Other celebrities, such as actor Michael Caine and author Frederick Forsyth, urged the UK depart the EU.

Broccoli and Wilson were among about 20 movie producers who said the UK’s membership in the EU had provided funds to help the nation’s movie industry.

The vote is a huge story with worldwide implications. The 007 angle is only a small part of the story. Still, in this case, the 007 contingent didn’t convice the UK electorate.

 

How to change continuity and play fair with audiences

A 1960s Captain America story explaining how the Red Skull was still alive.

A 1960s Captain America story explaining how the Red Skull was still alive.

As readers of this blog know, the Spy Commander has written about how Quantum of Solace, in terms of continuity doesn’t match up with Casino Royale.

Essentially, we’ve argued that Quantum of Solace didn’t bother to be consistent with Casino Royale.

Eon Productions co-boss Michael G. Wilson said during production that Quantum took place “literally an hour” after Casino but in that time it appears M (Judi Dench) has gotten a new office and agent Mathis has gone from being “sweated” to having a villa with a live-in girlfriend. Also, Casino took place in 2006 while Quantum took place in 2008.

Unless Q found a way to tamper with the space-time continuum…on wait, there was no Q in either movie!

Readers who dispute this say the two movies could have taken place two years apart. Except, cell phones act as a GPS device. So, at the end of Casino, it wouldn’t have taken Bond (Daniel Craig) very long to track down Mr. White.

The script for Casino certainly didn’t suggest that. As written, it makes it sound as if Bond dealing with Vesper’s death took place only a short while before he caught up with Mr. White.

203 UNDERWATER

The laptop shorts out and the last image of Bond and Vesper disappears. It lands on the bottom of the rock bay.

204 ON BOARD THE YACHT

Bond watches it disappear. He looks down at the few personal items of Vesper’s that remain and wonders if he has the strength to throw them in as well.

Then he picks up her cell phone, hits a button, checks the address book…and understands why she left the phone, and is overcome with emotion.

205 EXT MEDIVAL VILLA — day

Through the stand of cypress trees we spy a car pull up into the courtyard of a villa. A man steps out with a briefcase, Mr. White. His cell phone rings, he answers it.

When Mr. White answers, he’s shot in the knee and is confronted by Bond. The script indicates the two scenes took place a short while apart.

Reader Craig Arthur offered the following:

Obviously when CR was made that scene wasn’t set two years later but we have to accepted the revised timeline once QOS was made – just as we have to now accept that le Chiffre and White were working for SPECTRE even though that wasn’t the intention back in 2006 and 2008.

Except, Quantum made no attempt to explain the change or even say there had been a change.

Meanwhile, in SPECTRE, there is an explanation that the four Daniel Craig 007 films were connected. The audience is told this by Q (Ben Whishaw) who’s had the chance to analyze a ring Bond has recovered.

That’s called playing fair with the audience. It’s similar to comic books. Popular villains appear to have been killed, so there has to be an explanation when they come back.

Here’s an example: In Tales of Suspense 79-81, in stories by Stan Lee and Jack Kirby, the Red Skull made his first “modern” appearance in Captain America. Until then, stories involving the villain took place in World War II.

At the end of TOS 81, it sure looks like the Skull is gone for good.

Except….It’s hard to keep a good villain down. In Tales of Suspense 88-91, the Red Skull returned. In issue 89 (by Lee and Gil Kane) there’s an explanation on page 2 of the story how the villain survived after all.

In other words, Stan Lee & Co. played fair with the audience. Quantum, on the other hand, totally disregarded the film that preceded it.

Normally, Bond films don’t rely on continuity much. But Eon hyped the movie as the first “direct sequel” in the Bond film series. To make that boast, you’re asking for more scrutiny than usual.

Quantum doesn’t hold up to such scrutiny. Director Marc Forster and others on the Eon team would have been better off if they had studied some comics if they wanted to play the continuity game.

Forbes raises idea of a Nolan-directed 007 film

Christopher Nolan

Christopher Nolan

In the absence of any actual James Bond news, Forbes.com made the case for how Christoper Nolan could enter the world of 007.

The post by Forbes contributor Mark Hughes says Warner Bros. is the studio best situated to strike a new 007 film distribution deal with Metro-Goldwyn-Mayer, Bond’s home studio. If that happens, according to Hughes, it could be the catalyst for Nolan to enter the picture.

Mr. Warner (this blog’s nickname for Warners, based on the studio’s cartoons who addressed the unseen Jack L. Warner) “is pursuing the rights full steam and has much to offer — enough, in fact, that I think it makes them the most likely studio to secure the Bond rights,” Hughes wrote. “Warner could use another solid, reliable franchise right now. I also believe Warner is in a strong position to put forward a better deal than other contenders.”

Mr. Warner, meanwhile enjoys a good relationship with Nolan. The director helmed a Batman trilogy for the studio from 2005 to 2012. As a reward, Warner Bros. financed Nolan’s 2010 Inception movie. Nolan, 45, is currently directing a World War II film, Dunkirk, for Warners.

“Warner seems the most likely to bring Christopher Nolan aboard the franchise, and that’s a big chip in the studio’s favor,” Hughes wrote for Forbes.

Nolan has said he likes Bond and 2008’s The Dark Knight includes Bond-inspired bits. Also, Inception included an homage to On Her Majesty’s Secret Service.

Some fans are intrigued by the idea of a Nolan-helmed Bond film and Nolan’s influences were seen in the Sam Mendes-directed Skyfall and SPECTRE.

In May 2013, Baz Bamigboye of the Daily Mail, who had a history of being correct about his 007 scoops, reported Nolan had been approached about directing what would become SPECTRE. But it became a moot issue when Mendes agreed to a second turn in Bondage.

However, there is a potential barrier to Nolan taking on 007 which would have to be addressed.

Nolan also produces movies, via his production company Syncopy. His wife, Emma Thomas, works as producer on those films. Would Eon Production co-bosses Barbara Broccoli and Michael G. Wilson agree to such an arrangement on a Bond film?

Eon, in the 21st century, has given directors more freedom than the early years of the franchise. Still, it seems unlikely Broccoli and Wilson simply would yield to Thomas. Could they work out a deal where they’d work together, similar to the way Kevin McClory worked with Albert R. Broccoli and Harry Saltzman on Thunderball?

Some fans figure Nolan loves Bond so much, he’d simply come aboard without his Syncopy associates. As Tracy said in On Her Majesty’s Secret Service, “I wouldn’t go banco on that.”

Again, there’s no actual news here. It’s just the speculation about Bond 25 is now branching out from potential successors to Daniel Craig (who has not actually publicly said he’s quitting the Bond role) to other matters.

For Your Eyes Only’s 35th: Back to Fleming

Blofeld menaces 007 at the start of For Your Eyes Only

Blofeld menaces 007 at the start of For Your Eyes Only

Audiences got something in June 1981 they hadn’t seen in a while — a James Bond film with much of the proceedings actually based on Ian Fleming stories.

For Your Eyes Only, based on two Fleming short stories, even included some dialogue here and there taken from 007’s creator.

At this point, there hadn’t been so much Fleming material in a Bond movie since 1969’s On Her Majesty’s Secret Service, which ended with the death of Bond’s wife Tracy.

That movie was referenced at the very start of the pre-titles sequence when Bond visits Tracy’s grave. Her year of death was listed on her headstone as 1969 and her epitaph read, “We Have All the Time in the World.”

Following two Bond spectacles, 1977’s The Spy Who Loved Me and 1979’s Moonraker, the 1981 pre-titles sequence immediately signaled a change in tone.

Screenwriters Richard Maibaum and Michael G. Wilson ended up using chunks of the For Your Eyes Only and Risico short stories while fashioning a plot line to tie the two Fleming tales together.

It was also one time where Eon Productions and producer Albert R. Broccoli varied from their usual strategy of “tailoring” a movie to its leading man.

Roger Moore, making his fifth 007 film appearance, was called upon in the Maibaum-Wilson script to kick a car containing a killer in the employ of the movie’s villain off a cliff. Earlier in the story, Bond’s opponent was responsible for the death of an MI6 agent.

There were multiple accounts at the time that Moore hesitated but that first-time director John Glen (who had been promoted by Broccoli from second unit director) stuck to his guns.

It was a harder Bond than Moore normally played and it worked for the story. This was a case of writing Bond first and having the actor play to that.

For Your Eyes Only still added big set pieces, including a wheelchair-bound Blofeld (originally it wasn’t officially supposed to be the villain, but that got “re-conned” many years later as part of an official home video promotion) controlling a helicopter with Bond inside. There were also chases, with Bond in a small car for a change and on skis being menaced by various killers.

However, For Your Eyes Only stayed very much earth-bound compared with Moonraker, where Bond had gone into space. On more than one occasion, Moore’s Bond is forced to use his wits to survive.

During the summer of 1981, Bond still drew audiences amid heightened box office competition, such as Indiana Jones’ debut in Raiders of the Lost Ark, a huge hit with global box office of almost $390 million.

For Your Eyes Only generated global box office of $195.3 million. While a bit down from Moonraker’s $210.3 million, the change in direction was accepted by the general public.

Moreover, fans of Fleming’s original novels and short stories took note. It would not be until 2006’s Casino Royale that audiences would get as much Fleming content in a 007 film. For Your Eyes also was nominated for an Oscar for Best Song.

FROM 2011: For Your Eyes Only’s 30th anniversary: 007 returns to earth

 

Our modest proposals for Bond 25 Part II

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

Despite all the unknowns (leading man, distributor, script, etc.) about Bond 25, Eon Productions is getting plenty of advice about the cinema future of James Bond.

Variety, for example, suggested Kathryn Bigelow or Quentin Tarantino would be good candidates to succeed Sam Mendes as director.

We’ve already done this act once, so here’s our sequel:

Select an up-and-coming director to helm Bond 25: Over at Marvel Studios, executives have a knack for signing up-and-coming directors such as James Gunn (Guardians of the Galaxy) and Joe and Anthony Russo (the past two Captain America movies) with good results.

Taking such an approach may: 1) Provide a fresh set of eyes on 007 movie making and 2) Help with the budget because you’re signing people before they reach peak earnings power.

Bond 25 after the Sam Mendes-directed SPECTRE and, yet again, homages to past films could use the former. Or, put another way: The DB5, again after it was blown up in Skyfall? Really? Daniel Craig has driven it more than Sean Connery ever did.

Sign your own version of Kevin Feige:  Kevin Feige runs the Marvel movie operation and he’s credited as producer of each Marvel-made film. By all accounts, he’s enthusiastic about his job and has never publicly complained about the stresses of making big movies.

Both Barbara Broccoli and Michael G. Wilson, the co-bosses of Eon Production, have interests in non-007 projects.

A Feige-like deputy could keep an eye on things while Broccoli and Wilson are involved with plays, non-007 films and the like. Such a person could perhaps have kept a closer eye on SPECTRE’s script development while Broccoli and Wilson were involved with The Silent Storm.

The key thing would be to hire a sufficiently talented individual who the Eon co-bosses could trust. Not necessarily an easy task, but one worth considering.

Develop a succession plan if you haven’t already: Michael G. Wilson, at 74, has already spent a majority of his life in Bondage, longer than anybody else associated with the franchise. Over the past 20 years, he has commented more than once about the strains of the job.

Only Wilson knows if he’s up for doing it yet again for Bond 25. But whether it’s Bond 25, 26, 27, etc., nobody lives forever.

Sam Mendes said at a public appearance  that Barbara Broccoli alone will select the next actor to play James Bond. If he’s correct, perhaps there already has been some kind of transition. We’ll see.

Meanwhile Wilson’s son, Gregg, was assistant producer on Quantum of Solace and associate producer on Skyfall and SPECTRE.

 

A footnote about two of Wilson & Broccoli’s non-007 films

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

Barbara Broccoli and Michael G. Wilson, co-bosses of Eon Productions

We read a debate on a 007-related message board about the non-Bond films of Barbara Broccoli and Michael G. Wilson.

Supporters of the Eon Productions co-bosses said it was great they were involved with other projects, it would keep them fresh and invigorated. Skeptics wondered whether this would adversely affect the Bond series.

This post doesn’t take a side in the debate. Rather, it’s to provide additional information. We’ll take it step-by-step.

–Broccoli and Wilson are listed as executive producers on two independent films, Radiator and The Silent Storm.

–What does that mean? “Executive producer” in movies is a secondary, supportive-type title to the producer or producers. On television, executive producer is the title used by the top producer or producers of a show.

On SPECTRE, the 24th 007 film, Broccoli and Wilson were producers (the top producers, naturally) and Callum McDougall was executive producer. McDougall also doubled as unit production manager.

–Put another way, Broccoli and Wilson aren’t the primary producers on either Radiator or The Silent Storm, the same way Callum McDougall wasn’t the primary producer on SPECTRE.

Broccoli and Wilson are among 12 executive producers on The Silent Storm and among eight executive producers on Radiator.

The lead producers of Radiator were Tom Browne and Genevieve Stevens. The lead producers of The Silent Storm was Nicky Bentham.

As for the debate on the message board, the real question is how well Broccoli and Wilson are at multi-tasking.

In the 1960s, there was a tension between Eon founders Albert R. Broccoli (Barbara Broccoli’s father and Michael G. Wilson’s stepson) and Harry Saltzman.

Saltzman pursued a number of non-Bond projects while Albert R. Broccoli (aside from Call Me Bwana and Chitty Chitty Bang Bang, the latter based on another Ian Fleming novel) concentrated on the 007 series.

Barbara Broccoli and Michael G. Wilson, meanwhile, are pursuing the Saltzman model. Besides the independent films, they’re also involved in plays and television projects.

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