OHMSS’ 50th: ‘This never happened to the other fella’

OHMSS poster

OHMSS poster

Updated and adapted from a 2014 post.

When Sean Connery was cast as James Bond in Dr. No, there was interest. Ian Fleming’s 007 novels were popular. President John F. Kennedy was among their fans. Still, it wasn’t anything to obsess over.

By the end of the 1960s, things had changed. Bond was a worldwide phenomenon. 007 was a big business that even producers Albert R. Broccoli and Harry Saltzman hadn’t anticipated originally. Now, the role was being re-cast after Sean Connery departed the role.

As a result, On Her Majesty’s Secret Service, which debuted 50 years ago this month, was under intense scrutiny. The film required a long, exhausting shooting schedule. This time, Bond would be played by a novice actor, George Lazenby, and supervised by a first-time director, Peter Hunt.

Hunt, at least, was no novice with the world of 007. He had been editor or supervising editor of the previous five Broccoli-Saltzman 007 films and second unit director of You Only Live Twice. So he was more than familiar with how the Bond production machine worked. Also, he had support of other 007 veterans, including production designer Syd Cain, set decorator Peter Lamont, screenwriter Richard Maibaum and composer John Barry.

Lazenby, on the other hand, had to take a crash course. He was paired with much more experienced co-stars, including Diana Rigg and Telly Savalas. And he was constantly being compared with Connery.

When, at the end of the pre-titles sequence, Lazenby says, “This never happened to the other fella,” the statement was true on multiple levels.

Majesty’s was also the first time Eon Productions re-calibrated. You Only Live Twice had dispensed with the main plot of Fleming’s novel and emphasized spectacle instead. Majesty’s ended up being arguably the most faithful adaptation of a Fleming 007 novel. It was still big, but it had no spaceships or volcano hideouts.

Majesty’s global box office totaled $82 million, according to THE NUMBERS WEBSITE. That was a slide from You Only Live Twice’s $111.6 million. Twice’s box offce, in turn, had declined compared with Thunderball.

For Lazenby, once was enough. He subsequently has said he erred by not making a second Bond. “This never happened to the other fella,” indeed.

The film also marked Hunt’s exit from the series. He had been one of the major contributors of the early 007 films. But Eon would no longer employ his services after Majesty’s.

Today, Majesty’s has a good reputation among many 007 fans. In 1969 and 1970, the brain trust at Eon Productions and United Artists concluded some re-thinking was needed. Things were about to change yet again.

Bond 25 questions: Awaiting principal photography Part II

Daniel Craig in SPECTRE’s gunbarrel

Earlier this month, the blog had a few questions while awaiting the start of Bond 25 principal photography. If Variety is correct, the wait won’t be much longer. But, in the interim, here are additional questions.

Who will be Bond 25’s composer?

David Arnold has a five-film run as 007 composer. But that ended when Sam Mendes directed this decade’s Skyfall and SPECTRE, bringing along his choice of composer, Thomas Newman.

We’ve had disclosures about production designer (Mark Tildesley) and director of photography (Linus Sandgren). But there’s been radio silence concerning Bond 25’s composer. Having Cary Fukunaga as director perhaps will bring a new 007 musical voice. We’ll see.

Will there be some crew turnover in other departments?

The Eon-produced 007 film series is known for having crew members who work multiple films. But nothing lasts forever.

Peter Lamont began work on the series as a draftsman on Goldfinger and worked his way up to production designer. He worked on the series into his 70s, departing after 2006’s Casino Royale.

Terry Bamber worked on a number of Bond films, with jobs such as second unit production manager. But he hasn’t been on a 007 film since Skyfall.

We already know of turnover in the production designer slot. Dennis Gassner had a three-film run in the job but was replaced by Tildesley when Danny Boyle was named director. Despite Boyle’s departure, it appears Tildesley remains in place.

Which writers will get a Bond 25 credit?

The blog asked this in a previous Bond 25 questions post. Since then, the writer count has gone up again.

At least six writers have been associated with the project: Neal Purvis, Robert Wade, John Hodge, Paul Haggis, Scott Z. Burns and Phoebe Waller-Bridge.

Writing credits can be subject to arbitration by the Writers Guild of America.

“In certain cases, the proposed credits are subject to automatic arbitration, and in other cases, writers are given an opportunity to protest the proposed credits to trigger an arbitration,” according to the union’s website.

There are limits to the number of credits. A writing team such as Purvis and Wade is counted as a single writing entity, as it were. Regardless, it doesn’t appear likely all six will be in the movie’s writing credit. Hodge, for example, was Danny Boyle’s guy and left the project when Boyle did.

What happens with the gunbarrel in Bond 25?

The first three Daniel Craig 007 films moved the gunbarrel logo around. It appeared just before the main titles in Casino Royale. And it was at the end of both Quantum of Solace and Skyfall. It finally placed at its traditional start-of-the-movie position in SPECTRE, though there were a few quirks.

When last we saw Craig’s 007 at the end of SPECTRE, he appeared to have departed Her Majesty’s Secret Service. If that’s part of the plot of Bond 25, does it make sense to have the gunbarrel at the start? Or does it get moved again?

Octopussy’s 35th: Battle of the Bonds, round 1

Octopussy poster with a suggestive tagline.

Poster with a suggestive tagline.

Adapted from a May 2013 post with an epilogue added at the end..

Thirty-five years ago, there was the much-hyped “Battle of the Bonds.” Competing 007 movies, the 13th Eon Productions entry with Roger Moore and a non-Eon film with Sean Connery, were supposed to square off in the summer.

Things didn’t quite work out that way. In June 1983, Eon’s Octopussy debuted while Never Say Never Again got pushed back to the fall.

Producer Albert R. Broccoli was taking no chances. He re-signed Moore, 54 at the start of production in the summer of 1982, for the actor’s sixth turn as Bond. It had seemed Moore might have exited the series after 1981’s For Your Eyes Only. Broccoli had considered American James Brolin, and Brolin’s screen tests surfaced at a 1994 007 fan convention in Los Angeles. But with Never Say Never Again, a competing 007 adventure starring Connery, the original screen Bond, the producer opted to stay with Moore.

Also back was composer John Barry, who been away from the world of 007 since 1979’s Moonraker. Octopussy would be the start of three consecutive 007 scoring assignments, with A View To a Kill and The Living Daylights to follow. The three films would prove to be his final 007 work.

Barry opted to use The James Bond Theme more than normal in Octopussy’s score, presumably to remind the audience this was the part of the established film series.

Meanwhile, Broccoli kept in place many members of his team from For Your Eyes Only: production designer Peter Lamont, director John Glen, director of photography Alan Hume and associate producer Tom Pevsner. Even in casting the female lead, Broccoli stayed with the familiar, hiring Maud Adams, who had previously been the second female lead in The Man With the Golden Gun.

Behind the cameras, perhaps the main new face was writer George MacDonald Fraser, who penned the early versions of the script. Fraser’s knowledge of India, where much of the story takes place, would prove important. Richard Maibaum and Broccoli stepson Michael G. Wilson took over to rewrite. The final credit had all three names, with Fraser getting top billing.

As we’ve WRITTEN BEFORE, scenes set in India have more humor than scenes set in East and West Germany. Some times, the humor is over the top (a Tarzan yell during a sequence where Bond is being hunted in India by villain Kamal Khan). At other times, the movie is serious (the death of “sacrificial lamb” Vijay).

In any event, Octopussy’s ticket sales did better in the U.S. ($67.9 million) compared with For Your Eyes Only’s $54.8 million. Worldwide, Octopussy scored slightly less, $187.5 million compared with Eyes’s $195.3 million. For Broccoli & Co., that was enough to ensure the series stayed in production.

Hype about the Battle of the Bonds would gear back up when Never Say Never premiered a few months later. But the veteran producer, 74 years old at the time of Octopussy’s release, had stood his ground. Now, all he could do was sit back and watch what his former star, Sean Connery, who had heavy say over creative matters, would come up with a few months later.

2018 epilogue: Over the past five years, Octopussy has continued to generate mixed reaction.

One example was an article posted this month the Den of Geek website. 

While the site said Octopussy deserves another chance with fans, it also levied some criticisms.

It’s a funny old film, Octopussy, one used as evidence by both Moore’s prosecution and his defense. Haters cite the befuddled plot, an older Moore, some truly silly moments (Tarzan yell, anyone?), a Racist’s Guide to India, and the painfully metaphorical sight of a 56 year-old clown trying to disarm a nuclear bomb (rivalled only by Jaws’ Moonraker plunge into a circus tent on the “Spot the Unintentional Subtext” scale.)

At the same time, Den of Geek also compliments aspects of the movie, including its leading man.

Moore also submits a very good performance, arguably his strongest. Easy to treat him as a joke but the man really can act. Sometimes through eyebrows alone.

Thirty-five years later, Octopussy still has the power to enthrall some and to generate salvos from its critics.

I know someone, now in his 40s, who says it’s his favorite James Bond film. I have a friend who refuses to buy a home video copy of it (and every other Roger Moore 007 film) on the grounds that none of the Moore entries are true James Bond films. So it goes.

MI6 Confidential, 007 Magazine out with new issues

The World Is Not Enough poster

Two separate publications are out that may be of interest to James Bond fans.

MI6 Confidential No. 44 focuses on The World Is Not Enough, the 19th James Bond film. The 1999 movie was the final 007 production of the 20th century and the third Bond film to star Pierce Brosnan.

Articles include a look at how Brosnan felt about the Bond role the third time out; a feature about Sophie Marceau and Denise Richards and the characters they played; and a story about how Robbie Coltrane returned to the series and his character was expanded.

The issue also has stories going beyond the movie, including one about production Peter Lamont and how he became involved in the film series and another about former United Artists executive Jeff Kleeman and his involvement with Bond in the 1990s

For ordering information, CLICK HERE. The price is 7 British pounds, $9.50 or 8.50 euros.

Meanwhile, 007 Magazine is accepting pre-orders for a 007 Magazine Archives Files issue devoted to Luciana Paluzzi, who played SPECTRE assassin Fiona Volpe in Thunderball.

Luciana Paluzzi and Sean Connery during the filming of Thunderball

According to the publication, Paluzzi “discussed in detail her varied life and career.” Other highlights for Paluzzi included a pre-Thunderball appearance on The Man From U.N.C.L.E. as another femme fatale. Toward the end of her career, she was a guest star in the original Hawaii Five-O series as an Italian journalist. On that episode, she played opposite Jack Lord, the first screen Felix Leiter.

For ordering information, CLICK HERE. The price is 9.99 British pounds, $15.99 and 11.99 euros. The issue is to begin shipping on March 26.

 

MI6 Confidential brings out 2 new publications

Peter Lamont

MI6 Confidential is bringing out two new publications.

The first is a 100-page special publication focused on Peter Lamont’s work on 1973’s Live And Let Die.

In the publication, “Peter tells the story of making the film, location by location, as they appear in the film. It is lavishly illustrated with rare stills from the film, behind the scenes photographs never committed to print, and notes and storyboards from Lamont’s personal collection,” according to the MI6 Confidential website.

Lamont had the title of co-art director on the film. He worked on the 007 film series in various art department capacities starting with Goldfinger and running through Casino Royale. The only Bond film he missed was 1997’s Tomorrow Never Dies because he was production designer on Titanic.

The other publication is issue 42 of the regular MI6 Confidential magazine. It concentrates on George Lazenby and 1969’s On Her Majesty’s Secret Service.

Included is a story about Lazenby and “007’s lifelong shadow” on the actor as well as a feature on Diana Rigg.

To order the 100-page special, CLICK HERE. The price is 17 British pounds, $22 or 19.50 euros.

To order MI6 Confidential No. 42, CLICK HERE. The price is 7 British pounds, $10 or 8.50 euros.

Gassner says he will be Bond 25’s production designer

Dennis Gassner told International Cinematographers Guild Magazine that he will return as production designer for Bond 25.

“I’m about to do my fourth James Bond film, and acknowledging the efforts of Ken Adam and others is a big part,” Gassner said. He said with franchise films ““you have to honor the established elements while meeting audience expectations.”

The ICG article primarily is about Blade Runner 2049.

Gassner, 68, took over as 007 production designer with 2008’s Quantum of Solace. He held the position with 2012’s Skyfall and 2015’s SPECTRE.

Prior to Gassner, Peter Lamont had a long run as production designer starting with 1981’s For Your Eyes Only and running through 2006’s Casino Royale. The only Bond film Lamont didn’t work on during that period was 1997’s Tomorrow Never Dies.

The MI6 James Bond website earlier wrote about Gassner’s return as part of a roundup of recent Bond 25 news.

Below is a 2012 Skyfall video blog featuring Gassner describing his work on that film.

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. 

Peter Lamont book coming soon, Roger Moore says

Peter Lamont

Peter Lamont

Peter Lamont, production designer on nine James Bond films, has a memoir coming out soon, Roger Moore announced on Twitter.

Moore’s tweet included a picture of Lamont holding a copy of The Man With the Golden Eye: Designing the James Bond Films.

Lamont’s book was first announced in September 2013. At the time, it was supposed to be published by Tomahawk Press.

In March 2015, the project was moved from Tomahawk amid creative differences. Whatever happened, the Sir Roger tweet said the book is a now a go.

Lamont, 86, first worked on the 007 series in Goldfinger, serving as a draftsman, in effect taking the first step toward making Ken Adam’s designs real. He worked his way up to set decorator and later art director.

When Adam left the series for good following Moonraker, Lamont got the production designer job starting with 1981’s For Your Eyes Only. His last Bond film was 2006’s Casino Royale.

Here’s what the Roger Moore tweet looked like:

Lamont book being moved to another publisher

Peter Lamont

Peter Lamont

UPDATE (7:30 a.m.) — Max Pemberton, Peter Lamont’s co-writer of a memoir on the production designer’s career, said in a written statement that the project has been “moved to another publisher”  other than Tomahawk Press and will proceed. He didn’t provide additional details.

UPDATE II (8:50 a.m.) — Pemberton IN A STATEMENT ON FACEBOOK says, “We have simply moved on to a different publisher due to creative differences. The book is still going ahead. The new publisher and availability will be announced in due course.”

ORIGINAL POST: Tomahawk Press, IN A MARCH 7 ANNOUNCEMENT ON ITS FACEBOOK PAGE, said a memoir by former 007 production designer Peter Lamont had been canceled.

Here’s the text:

It is with the greatest regret that we have to announce that the authors of Peter Lamont – The Man With the Golden Eye have decided not to continue with this project. Tomahawk Press is highly regarded worldwide for the quality of our books, and we had planned something really special with this book – a beautifully designed large-format publication to do justice to all of Peter Lamont’s work. We are saddened by the authors’ decision, and apologise to the hundreds of you that had expressed interest and the dozens of reviewers that had been put on our list for review copies.

An item on the website FROM SWEDEN WITH LOVE says the memoir is to be published “from a different publisher [to be revealed later].” No other details were provided in that post. Tomahawk originally announced the Lamont memoir in September 2013.

Lamont, 85, began working on the 007 film series as a draftsman on Goldfinger. He succeeded Ken Adam as art designer for 1981’s For Your Eyes Only. His last Bond film was 2006’s Casino Royale.

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 MĂ©heux, 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.