Bond 25: ‘Mind you, all of this is pure guesswork…”

Image for the official James Bond feed on Twitter

Alert: What follows is just for fun. The blog wanted to make that clear following last weekend’s fiasco in The Mirror.

So, Bond 25 has some momentum following last week’s announcement of a 2019 release date.

That announcement left a number of issues unresolved. Channeling M in You Only Live Twice (“Mind you, all of this is pure guesswork, but the PM wants us to play it with everything we’ve got.”), here’s a quick look with more than a little guesswork.

Status of the story: The release date announcement also said Neal Purvis and Robert Wade were working on Bond 25’s story. That confirmed a March story by Baz Bamigboye of the Daily Mail. Thus, that story now becomes “news that hadn’t been announced yet” from the rumor category.

But how far along are Purvis and Wade? It depends on how long ago they were hired. It has been almost five months since Bamigboye’s story.

Guess: They’ve had enough time to come up with a treatment, perhaps even a full first draft script. If it’s the latter, that’s just the start. But it’s certainly a possibility.

Status of Bond 25’s distributor: Sony Pictures has distributed the last four 007 films. But its most recent two-picture deal expired with 2015’s SPECTRE. Metro-Goldwyn-Mayer, 007’s home studio, can’t distribute films on its own. Unless, of course, MGM is feeling bolder seven years after existing bankruptcy.

With that in mind, it’s a natural question whether a Bond 25 distributor has already been selected.

Eon Production made the most recent announcement. But it has no distribution operation. It doesn’t finance its movies. The fact Eon made a release date announcement suggests a deal is in hand. We’ll see.

Status of Daniel Craig as James Bond: Craig is 49. Here’s the precedent involving actors in their late 40s/early 50s playing James Bond.

–Roger Moore was 49 when The Spy Who Loved Me was released. He came back for four more movies. Sometimes the negotiations went down to the wire (and potential replacements auditioned). But he was 58 when his final 007 film, A View to a Kill, was released.

–Pierce Brosnan was 49 when Die Another Day came out. He said on talk shows he had an offer for a fifth Bond outing. It didn’t happen that way and Daniel Craig replaced him.

The thing is, Brosnan was the final Bond selected by Eon co-founder Albert R. Broccoli. Craig was the first Bond selected by Eon’s Barbara Broccoli and Michael G. Wilson.

Sometimes, it’s hard to let go. That’s true even if it contradicts your previous public statements.

The prestige media is mixed. The New York Times has reported Craig will be back. The BBC has said it “understands the actor has not yet signed a contract.”

The guess: Craig stays for Bond 25.

Status of the director: This is one category the blog won’t guess. It really depends on what Eon boss Barbara Broccoli is thinking.

Remembering that 1989-95 007 hiatus

GoldenEye’s poster

Our post the other day about the anniversary of Licence to Kill’s release got the blog to thinking about what followed: The six-year hiatus in James Bond film production.

Like the earlier post, this is more of a personal take on the events.

The thing is, in those pre-internet days, the news was much slower in getting around. During much of this period, I saw a number of items in The Wall Street Journal. I had a subscription at the time.

Also, the extent of what was going on wasn’t immediately evident.

There were reports in the trade press that director John Glen and screenwriter Richard Maibaum wouldn’t be returning to the series. This was the first indication (at least to me) that a big makeover, rather than minor tweaks, was in store.

There were occasional stories about potential new directors and screenwriters. Things got more serious when it was announced that Danjaq, parent company of Eon Productions, was putting itself up for sale. Eventually, no sale occurred, but seeing the original announcement was an eye-opener.

What’s more, the soap opera at Metro-Goldwyn-Mayer, Bond’s home studio, went into overdrive. MGM was bought and sold again, with a bank (Credit Lyonnais) taking over the operation. Bond fans now needed to read the business pages of newspapers just to keep things straight.

Also, Danjaq/Eon filed a lawsuit related to what was going on with MGM. It was clear the next James Bond film wouldn’t be made soon. Even when the lawsuit was settled (I had a chance to read the press release at my office), it still wasn’t clear when production would resume.

Timothy Dalton

During this period, there were questions about what would happen with the incumbent 007, Timothy Dalton. Geraldo Rivera had a syndicated U.S. television show at the time and one broadcast was devoted to Bond. Some Bond experts participated. Rivera asked if Dalton would be back. The experts said they expected him to return.

Finally came the announcement that Dalton was gone. What was going to happen next?

Attention turned to Pierce Brosnan, who lost out on his chance to play Bond in 1986, when Dalton got the nod.

Eon maintained in a 1987 television interview that Dalton was always its No. 1 choice. In that interview, Albert R. Broccoli and Michael G. Wilson said Brosnan had never been signed to play Bond.

Brosnan had been signed (and it’s detailed in the Inside The Living Daylights documentary that’s part of home video release), but NBC reacted by ordering more episodes of Remington Steele. That, of course, was what gave Dalton his opportunity to play Bond.

In 1994, shortly before the casting decision was announced, The Wall Street Journal weighed in with a long front-page story about the Bond search and that it was not a clear-cut choice.

Regardless, Brosnan got the nod. Many fans, no doubt, thought, “Finally!”

Advertisement for 1994 James Bond convention

Still, Bond had been away from theater screens for quite a while. Eon did something it had never done — having an official James Bond fan conventions in the fall of 1994 and 1995 (the latter days before the premiere of GoldenEye).

That was part of an effort to revive interest in Bond. For hard-core fans, they were anxiously waiting all along. Still, both conventions were interesting to attend. For some fans, it was a chance to meet like-minded people they had never had a chance to encounter before.

In the end, Bond resumed production. 007 even maintained an every-other-year schedule until the end of the 1990s.

Still, looking back at the hiatus, it’s a reminder that film franchises — for fans, for productions companies, for studios — can’t be taken for granted.

Die Another Day’s 15th: Eon discovers CGI is hard

Die Another Day’s gunbarrel, complete with CGI bullet

This year marks the 15th anniversary of Die Another Day, the James Bond film where Eon Productions decided to go all in on computer-generated imagery.

Eon had dabbled with CGI before, including the title designs of Daniel Kleinman who had taken over for the late Maurice Binder.

But Die Another was another matter entirely. First up was a CGI bullet fired at the audience by Pierce Brosnan’s Bond in the opening gunbarrel sequence. Evidently, Bond was a better shot than anyone knew. He was able to fire a bullet into the barrel of another person’s gun.

Later, U.S. operative Jinx (Halle Berry) supposedly dives backward into the ocean from a cliff — supposedly being the operative word.

There was also an Aston Martin that could turn invisible. For Bond, it helped that the thugs of villain Gustav Graves didn’t notice the tracks the invisible car was putting in the show.

But, of course, the movie’s most famously bad use of CGI came as Brosnan/Bond parachute surfs to avoid being swallowed up by a tidal wave. Much of the sequence looks like a mediocre video game with insert shots of Brosnan gamely trying to sell the audience he’s actually concerned about the proceedings.

Director Lee Tamahori was a big enthusiast of what digital imagery would bring to the table of the 20th James Bond film.

The “manipulations” enabled by CGI “are endless and effortless,” Tamahori said. “The high-end action sequences that are done for real are still going to exist …but I think …half of them will exist for real.” The rest, he said, might move into entirely digital effects. (You can view Tamahori’s comments at the start of the first of two videos reviewing the movie at the HAPHAZARD STUFF website.)

John Cleese and Pierce Brosnan in Die Another Day

Tamahori was indeed correct that digital effects would become more prominent in future Bond movies. Safety cables for stunt performers can be hidden, for example. Also, mice can be created and rail cars can be added to trains. (For the latter two examples, CLICK HERE for a post about CGI use in 2015’s SPECTRE.)

Unfortunately for Die Another Day, the director and production company found out CGI is hard. Better execution of CGI in a Bond would movie would have to wait for another day.

Poor CGI wasn’t the movie’s only problem. For the first time, Eon decided to make a big deal about a 007 film anniversary (2002 being the series’ 40th anniversary). Tamahori & Co. opted to put all sorts of Bond film references that tended to distract from the film’s plot. Look, a set based on a Ken Adam set from Diamonds Are Forever! Look, there’s the Thunderball jet pack! Look, there’s the same electronic noise that accompanied the Dr. No gunbarrel! Look, there’s a Union Jack parachute! And on, and on, and on, and….

At the same time, Die Another Day proved to be the end of the line for Pierce Brosnan.

When the film was released, Brosnan said during talk show appearances that Eon wanted him back for a fifth Bond film and he was looking forward to it. Two years later, Brosnan got a telephone call from Eon’s Barbara Broccoli and Michael G. Wilson informing the actor that his services were no longer required.

Brosnan was the last Bond chosen by Albert R. Broccoli. “The kids” were about to pick their own.

Tomorrow Never Dies’s 20th: Jigsaw puzzle

Tomorrow Never Dies poster

This year marks the 20th anniversary of Tomorrow Never Dies, a jigsaw puzzle of a production.

Just when the pieces seemed to be coming together one way, they had to be disassembled and put together another.

That condition certainly applied to the script. Producers Michael G. Wilson and Barbara Broccoli initially employed Donald E. Westlake. That effort was dropped.

Next up, Bruce Feirstein, who had penned the later drafts of GoldenEye, started a new story line. Other scribes worked on the project before Feirstein returned, doing rewrites on the fly while filming was underway.

Locations ended up being a puzzle as well. Much of the story was set in Vietnam. But the Asian country abruptly revoked permission to film there. The Eon Productions crew had to quickly go to Thailand as a substitute.

The score from composer David Arnold would also be a jigsaw puzzle. The newcomer scored the movie in thirds. (He explained the process in detail in an audio interview with journalist Jon Burlingame that was released on a later expanded soundtrack release.) There would be next to no time for normal post-production work.

Principal photography didn’t begin until April 1, 1997, and production would extend into early September for a movie slated to open just before Christmas.

It was star Pierce Brosnan’s second turn as 007. In the documentary Everything or Nothing, he said his Bond films other than GoldenEye were all a blur. That blur began with this production.

Also, during the film’s buildup, the publicity machine emphasized how Michelle Yeoh’s Wai Lin, a Chinese agent, was Bond’s equal. This wasn’t exactly a new development. Barbara Bach’s Agent Triple-X in The Spy Who Loved Me was “his equal in every way,” according to that movie’s director, Lewis Gilbert. Nor would Tomorrow Never Dies be the last time “Bond’s equal” would come up in marketing.

In some ways, Tomorrow Never Dies was the end of an era.

It was the last opportunity to have John Barry return to score a Bond film. He declined when told he wouldn’t be permitted to write the title song. That opened up the door for Arnold, who’d score the next four 007 movies.

This would also be the final time a Bond movie was released under the United Artists banner. UA was a division of Metro-Goldwyn-Mayer in 1997. Two years later, MGM decided to release The World is Not Enough under its own name.

The movie, directed by Roger Spottiswoode, generated global box office of $339.5 million. That was lower than GoldenEye’s $356.4 million. Still, it was more than ample to keep the series, and its Brosnan era, going.

The Living Daylights at 30: A short-lived new era

The Living Daylights poster

The Living Daylights poster

The Living Daylights, the 15th James Bond film made by Eon Productions, was going to be the start of a new era for the series.

With hindsight, it’s now evident the new era was doomed to be short-lived. But nobody envisioned that when the movie came out in the summer of 1987.

Roger Moore hung up his shoulder holster following 1985’s A View to a Kill. There was going to be a new film James Bond. The question was who would it be.

Sam Neill was screen tested. He had supporters among the production team, but didn’t have the vote of producer Albert R. Broccoli, according to the documentary Inside The Living Daylights.

Pierce Brosnan tested for the role (including playing scenes from On Her Majesty’s Secret Service). He even signed a contract, with a photo taken of the event.

But all that went askew when NBC renewed his Remington Steele series. Broccoli had second thoughts.

Broccoli and his stepson, Michael G. Wilson, later denied in a television interview that Brosnan had even been signed.

The ultimate choice was Timothy Dalton. Broccoli said Dalton was the first choice all along.

“We wanted to get Timothy,” Broccoli said. “We had standing by the possibility of Pierce Brosnan. We liked Pierce. But we did really feel Timothy was the man we wanted.” Even if NBC hadn’t renewed Remington Steele, the producer said, “We liked Timothy very much.”

After the bumpy start, Daylights got into gear. Dalton, 40 at the time filming began, was almost 20 years younger than Moore. The actor also was more than willing to do some of his own stunts. This tendency showed up in the pre-titles sequence when Bond is on the top of a military truck at the Rock of Gibraltar.

Dalton, though, brought more than (relative) youth to the role. His Bond was more conflicted and more grounded in the original Ian Fleming novels and short stories.

Early in the film, Bond disobeys orders when he suspects a supposed sniper (Maryam d’Abo) isn’t genuine. He shoots her rifle instead of her.

Later, Saunders, another MI6 agent, says he’s going to report Bond to M. Dalton’s Bond isn’t fazed. “If he fires me, I’ll thank him for it.”

Richard Maibaum was on board for his 12th Bond film as scripter, collaborating with Wilson. The Maibaum-Wilson team built their story out from a sequence in Ian Fleming’s short story of the same title.

Initially, the duo had an “origin” story line that Broccoli vetoed. Instead, Dalton’s Bond would again be depicted as a veteran agent.

The Living Daylights generated worldwide box office of $191.2 million, an improvement over A View to a Kill’s $152.6 million.

In the U.S. market, however, Daylights’ $51.2 million wasn’t much better than View’s $50.3 million. For whatever reasons, American audiences never warmed to Dalton the way international audiences did.

Still, Daylights seemed to represent a fresh start for the Bond film series. What nobody knew at the time was that audiences had already consumed half of the Dalton Bond films.

What’s more, Daylights was the end of an era for the series. It had John Barry’s final 007 score. For his final Bond film, the composer would make a brief on-screen appearance.

Daylights also would be the last time that Maibaum would fully participate in the writing.

The veteran scribe (1909-1991) would help plot 1989’s Licence to Kill. But the actual script was written by Wilson, with Maibaum sidelined by a Writers Guild of America strike.

Spanish in James Bond movies

Goldfinger poster

Goldfinger poster

By Nicolás Suszczyk, Guest Writer

SMERSH’s dossier on James Bond stipulates he is fluent in three languages: English, French and German.

However in the films, Bond and those he encounters speak a fair amount of Spanish on occasion.

 

From Russia with Love (1963)

The audience hears a few words in Spanish during the SPECTRE training sequence in the pre-title sequence.

As Red Grant terminates the fake 007 during his exercise, a few headlights are turned on and a voice in an unidentified dialect says: “Silencio, cada uno donde está”, which in English means “Silence! Everyone, stay where you are.”

Goldfinger (1964)

In the pre-title sequence of Goldfinger, James Bond breaks into a heroin-making laboratory in Latin America.

After setting up explosive charges over nitro barrels in Ramírez’ lab, Bond goes to a nearby canteen. There, a dancer named Bonita makes up a flamenco step show with people cheering.

The charges explode and as the crowd moves along, Bond talks to a man in English. It’s his contact. He warns 007 not to go back to his hotel and to take the first plane to Miami. He addresses Bond as Señor, not Mister.

Bond disregards the advice and goes to see Bonita. He is attacked by an assailant, whom he terminates with electricity in a “shocking” way. The assailant, played by stuntman Alf Joint, is wrongfully credited in publications as “Capungo” as if it were a name or a surname. In Ian Fleming’s novel, we know capungo is a Mexican slang for “thug” or “hitman.”

The Man With The Golden Gun (1974)

Villain Scaramanga (Christopher Lee) says a single line in Spanish when having lunch with Bond, claiming the death of 007 “mano a mano, face to face” will be all his.

FYEO U.S. Insert

For Your Eyes Only (1981)

This is the first film in the series where 007 speaks in Spanish. Roger Moore has the distinction of being the first Bond to use the language.

007 is sent to Madrid to capture and interrogate Héctor González, a Cuban hitman responsible of the death of Timothy and Iona Havelock. While spying on the González estate, Bond is captured. The agent escapes after a diversion caused by Melina, the daughter of the late Havelocks, when she shots a bolt into González’ back.

As Bond and Melina escape, we hear some words: “¡Vamos, que no se puede escapar!” (Come on, we can’t let him escape). Later, 007 and the girl try to find a way out while driving Melina’s Citroen 2 CV.

The car flips down while taking a low road and some of the natives try to help the couple. As the henchmen of González try to reach them in their more powerful Mercedes Benz, Bond asks the citizens to help them push the car: “Por favor, ¡empujen!”

Safe in his hotel, Bond reserves a flight back to London and thanks in Spanish: “Muchas gracias.”

octopussy

Octopussy (1983)

Spanish is much heard during the first ten minutes of the film, when 007 infiltrates an air base in an unknown Latin American country (probably Cuba) to sabotage a missile. We hear trough the radio phones one Colonel Alvarado is performing an equestrian show.

Bianca, a Latin American agent, helps 007 don his disguise (fake moustache included): Colonel Luis Toro. A detail to note is that the prop department wrongfully abbreviated the word “Colonel” in English (Col. Toro) when it should have used the Spanish abbreviation (Cnel. Toro).

Moore makes a good use of his double entendrés with Toro’s surname: “Toro? Sounds like a load of bull” (The English for toro is “bull”).

Bond –- posing as Toro -– infiltrates the compound and greets one of the officers working on the missile. “Coronel,” the man says.  007 replies “Continúe” (Carry on) before knocking the man unconscious and getting discovered by the real Toro.

“Interrogación”, the military orders for the impostor to be arrested and interrogated. One of the officers complies while replying: “Sí, Coronel. Métanlo al camion” (Yes, Colonel. Get him on the truck).

007 escapes with the aid of Bianca’s seductive skills and, before taking a leap on the Acrostar jet for the definitive runaway, he thanks her with a “gracias, querida” (Thank you, darling).

Licence to Kill's poster

Licence to Kill’s poster

Licence to Kill (1989)

Given the film had major locations shot in Mexico, Spanish is present in the last film with Timothy Dalton as 007.

Bond himself only uses the language by addressing the villain as “Señor Sánchez” and by translating to Leiter the villain’s statement: “Plomo o Plata” (literally translated as “Lead or Silver”).

The villain played by Robert Davi uses a handful of Spanish words: “No te preocupes” (Don’t worry) to his girlfriend Lupe before whipping her; “amigo” (friend) to Krest and Bond); and even a mouthful: “¡Este hijo de p*ta!” (son of a bitch) before shooting the dead body of double agent Kwang, who killed himself with cyanide to avoid capture.

So does Lupe Lamora –often addressed as señorita instead of Miss– mixing words in Spanish with English phrases: “You loco” and “You borracho” (loco: crazy, borracho: drunk) to Bond and Krest.

Milton Krest, one of Sànchez’ associates, says a “muy bien” (all right) while searching for Bond as he escapes his troops. We can notice Anthony Zerbe’s voice is dubbed.

More of the language is heard when Bond and Pam (Carey Lowell) arrive at Isthmus City, when a radio is playing a populist narration claiming the benefits for the people given by the president (a puppet of Sánchez): “Beneficios para el pueblo con Héctor López, su Presidente”.

The World Is Not Enough (1999)

The film begins in Bilbao, Spain, while visiting a corrupt banker, Lachaise. The mission for Pierce Brosnan’s Bond is to recover Sir Robert King’s money and extract information on who eliminated a fellow agent.

Bond fights Lachaise’s thugs and manages to escape from the Spanish police trough the office window. We hear officers speculating about the crime scene and shouting warinings: “Creo que son dos o tres, están armados… se oyeron cinco disparos y una explosión… ¡Abra la puerta, Policía!” (I think there were two or three, they’re armed. We heard five shots and an explosion. Police! Open the door!).

007 calmly escapes and, as he walks through the streets close to the Guggenheim, museum, one of Lachaise’s guards is caught: “¡Quieto ahí! Levanta las manos!” (Stay right there! Hands up!).

DADposter

Die Another Day (2002)

Bond (Brosnan) visits Cuba to eliminate assassin Zao. His first stop in Havanna is Raoul’s tobacco factory, where he asks for Delectados, a kind of cigars not made anymore.

“Raoul, aquí hay un tipo que busca delectados, de Universal Exports” (Raoul, there’s a guy asking for delectados, from Universal Exports), an old man notifies via telephone. Delectados were used as an understanding code between the agents.

In the tobacco factory, a man is reading the newspaper aloud to the employees, an article about the selling of lenses and recording cameras.

As Bond and Raoul talk about Zao, he calms down the tense looking old man, holding a gun to protect his boss, given the case: “Bueno, ¡pero relájate, hombre!”

Strangely, Raoul is a French name and the Spanish version of that name should have been “Raúl.”

Enjoying a bit of the Cuban culture, Brosnan makes use of his Spanish knowledge as James Bond: “Un mojito, por favor”, he asks ordering the famous Cuban drink.

To gain access to the Álvarez Clinic in Los Órganos, where Zao a patient for DNA makeover therapy, he knocks down a grumpy patient, carries him unconscious in a wheelchair and uses his papers to transport him. Before he does, he greets the prostitute: “Buenos días” (Good morning). Then, he delivers his papers to a boat transbord agent, calling him señor, and as the man grants him permission Bond replies “gracias”.

International poster for Quantum of Solace

International poster for Quantum of Solace

Quantum of Solace (2008)

The 22nd film in the series is set in Latin American locations, with Panama and Chile doubling for Bolivia.

For the first time, Spanish was an important language in a Bond film and not restricted to a few words. The Spanish dialogue was so important that in most countries it was subtitled.

In Haití, Camille greets General Medrano. Before capturing her, the military, responsible for the death of her parents, tells her: “Conocí a su familia, tristemente, creo que fui el último que los vio vivos” (I met your family. Sadly, I think I was the last one who saw them alive).

As Bond (Daniel Craig) rescues Camille, the general will throw orders in Spanish: “¡Síganlos!” (Follow them!).

Following the lead to villain Dominic Greene, Bond visits La Paz with Mathis, returning to the series after Casino Royale.

Upon reaching the city, they’re joined by Fields, a British agent sent to return Bond to London but who ends up joining the quest.

Stationed in Bolivia for almost a decade, Mathis is a friend of the Police Colonel, Carlos, whom he calls as a chatterbox taxi driver complains of the poor state of the country: “Calentamiento global… llueve mucho o no llueve nada” (Global warmth, it either rains or it never rains) and of the high taxes. Mathis continuously shushes him: “Cállate, ya, ¡chito!

When Bond checks into the luxurious Grand Andean Hotel, Craig says, “Hola, somos maestros en año sabático, y nos ganamos la lotería” (We’re teachers on sabbatical, and we have just won the lottery).

The concierge replies, “Felicidades, señor. ¿Les puedo ayudar en algo?” (Congratulations. How can I help you?). The voice of the concierge was dubbed by noted Mexican director Guillermo del Toro.

There are some mistakes in the subtitles added to the film: when 007 approaches a villager asking for the DC-3 plane to escape with Camille, the man rudely asks: “Buenos días, ¡¿Qué es lo que quiere?!” Subtitled as the polite “How can I help you?”, it should have been translated as the more literal “What do you want?” given the rudeness of the voice tone of the man.

Another Mexican director, Alfonso Cuarón, provided the voice for the radio guiding the Bolivian jet planes sent by Greene to hunt Bond and Camille, with the first phrase being “Objetivo eliminado” (Target terminated).

Something rather funny happens near the end of the film, when General Medrano and the Chief of Police have a chat on the Perla de las Dunas hotel.

Both characters are Bolivian, yet Medrano is played by a Mexican actor (Joaquín Cosio) and Carlos, the Colonel is played by a Spaniard actor (Fernando Guillén Cuervo).

The different dialects show up, and there’s yet another mistake in the subtitles.

Complaining by the noise made by the fuel cells to give electricity to the complex, the Colonel says: “Maldito quebradero de cabeza, la verdad”. Subtitled as “Pain in the ass, really”, the more literal “This sound wrecks my head” would have been more appropriate.

Daniel Craig in SPECTRE's main titles

Daniel Craig in SPECTRE’s main titles

SPECTRE (2015)

The movie begins in Mexico City during the Día de los Muertos (Day of the Dead) celebration. Bond (Craig) is seen, in disguise, with a girl called Estrella, who in the hotel elevator mutters him some words in Spanish to his ears – presumably “te deseo” (I desire you) is logical since she kisses him as they both reach the room.

Not much more is heard except for the melody sang aloud by the attendants: “Los muertos vivos están, siento ya su poder, vengan todos aquí, este día llegará” (The dead are alive, I can feel their power. Let’s get all together, this day will arrive).

At around the half of the film, the SPECTRE agents are reunited in Rome to discuss the job in hand after the death of Sciarra in Bond’s hands. One of Blofeld’s assistants claims the next duty for Sciarra was the assassination of Mr. White, and offers the assignment to a Spaniard member known as Guerra.

Guerra, played by Benito Sagredo, complies by showing his loyalty to the organization in his own language: “Por supuesto. Mi lealtad a esta organización es absoluta. La protegeré hasta mi último aliento. No habrán más… aficionados. No veremos más muestras de debilidad” (“Of course. My loyalty to this organization is total. I will protect it with my last breath. There will be no more… amateurs. No more shows of weakness”).

 

Craig’s 007 tenure now second-longest, fan website says

Daniel Craig and Aston Martin DB5 in a Skyfall publicity sill

Daniel Craig and Aston Martin DB5 in a Skyfall publicity sill

Daniel Craig’s tenure as James Bond is now second-longest, according to a fan website, Dalton Was Best.

The site’s websmaster, Adrian Stirrup, made the calculations for a Jan. 1 post. Stirrup said they were based on the date each Bond actor was announced publicly.

In the Jan. 1 post, Stirrup wrote that Craig would take over the No. 2 spot from Pierce Brosnan as of Feb. 20. The webmaster followed that up with a post on Twitter today, saying Craig now has 4,147 days in the role, compared with Brosnan’s 4,146.

The public announcement for Craig being cast as 007 was Oct. 14, 2005.

No. 1 is Roger Moore at 5,118 days. Sean Connery, the original film Bond, has 3,049 days with two stints in the role combined. Based on Jan. 1 post, the calculation is only for Connery’s time making six movies in the Eon Productions series. The actor did a seventh non-Eon Bond film, Never Say Never Again.

You can view today’s follow up tweet by Stirrup below.

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