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.



007 by the numbers: Films per decade

An exchange with a fellow James Bond fan got us to thinking about the output of James Bond fans by decade.

There has been a long-term trend of fewer movies. Some say it’s because making films has gotten more complicated.

Anyway, without further analysis, here’s how it breaks down by decade.

1960s: 007 films. This was the decade of Bondmania so, naturally, it’s when output reached its zenith. There were six entries in the Eon Productions series, plus the Casino Royale spoof produced by Charles K. Feldman with fifth credited directors including John Huston.

1970s: 005 films. The Eon series began the decade by bringing back its original leading man (Sean Connery) while spending the rest of the ’70s with Roger Moore.

1980s: 006 films. The Eon series was like clockwork, with a movie every other year. Also, there was Connery’s final Bond film, Never Say Never Again, the non-Eon production that came out in 1983, the same year as Eon’s Octopussy.

Timothy Dalton replaced Moore with 1987’s The Living Daylights (after Pierce Brosnan had been signed but couldn’t get out a contract with NBC). Eon didn’t miss a beat. That would be the last time such a statement would be uttered, though fans didn’t realize it at the time.

1990s: 003 films. A big legal fight between Eon and studio Metro-Goldwyn-Mayer shut down production at the start of the decade. Bond didn’t return until 1995’s GoldenEye. But the (by now) tradition every-other-year production schedule still resulted in three entries for star Pierce Brosnan.

2000s: 003 films. MGM gave Eon an extra year to put out Die Another Day in 2002. It was Brosnan’s finale, though he didn’t know it at the time. Eon then went into a period of self-reflection. It got the rights to Casino Royale, opted to ditch Brosnan and hire Daniel Craig as a replacement.

Quantum of Solace in 2008 proved to be the final 007 film produced on an every-other-year schedule. But nobody knew it at the time.

2010s: 003 films (scheduled). The decade began with MGM going into bankruptcy and emerging as a smaller company. Craig, though, stayed onboard with 2012’s Skyfall, followed by 2015’s SPECTRE.

“Everybody’s just a little bit tired,” Daniel Craig said in 2016.

Then, another self-imposed break took hold.

“There’s no conversation going on because genuinely everybody’s just a bit tired,” Craig said at a New Yorker magazine event in fall 2016, referring to the next Bond film. Eon boss Barbara Broccoli stepped up her involvement with non-Bond films as well as plays, including a production of Othello with Craig.

Craig said last month on CBS’s The Late Show he would be back for Bond 25. “I needed a break,” he told host Stephen Colbert.

Eon has announced a U.S. release date of November 2019 for Bond 25. But, for now, it’s not known what studio will actually distribute the film. MGM doesn’t have a distribution operation and cuts deals with other studios.

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.