Bond 25 questions: No Time to Die’s box office crown

One of the many No Time to Die posters

Sometime soon, No Time to Die is expected will pass F9: The Fast Saga as the No. 1 Hollywood box office movie of 2021. Naturally, the blog has questions.

What do you mean “Hollywood” movie?

From the very beginning, Bond movies were financed by Hollywood studios. United Artists secured a loan from BANK OF AMERICA (a U.S. company) that supplied most of the money. It has never changed since.

Wait, what?

Yes, even though the movies were made in the U.K., the U.S. supplied the money. Without the likes of Arthur Krim, Robert Benjamin and David V. Picker at United Artists, Bond would never have gotten off the ground.

But I thought Eon did everything!

That’s a comforting myth that many Bond fans have adopted. In reality, Eon plays with others’ money.

OK, but doesn’t product placement finance *everything*?

No. That’s another comforting myth among Bond fans.

What are you saying?

REPEAT: James Bond’s ownership is blurred. Creatively, it is controlled by Danjaq/Eon while Bond’s home studio is MGM. It’s an uneasy partnership. MGM can’t go forward without Danjaq/Eon while Danjaq/Eon can’t launch a Bond movie without MGM.

What are you trying to say?

MGM and Danjaq/MGM are in an uneasy partnership. MGM has agreed to be acquired by Amazon. Maybe that will create new opportunities.


Until Amazon gets full control of MGM (that deal still is subject to regulatory review), we don’t really know.

Wilson & Broccoli, an appreciation

Barbara Broccoli and Michael G. Wilson

Barbara Broccoli and Michael G. Wilson

Michael G. Wilson and Barbara Broccoli, the co-bosses of Eon Productions, are scheduled to get an award from the Producers Guild on Jan. 19. The half-siblings this week were featured in a write-up on previewing the event.

Evaluations of second-generation business leaders (and running the Bond franchise qualifies as a business) can vary. Occasionally, the second-generation outshines the first (think Thomas Watson Jr. of IBM). Sometimes, the second generation’s ambitions are frustrated by the first (think Edsel Ford). Sometimes, the second generation can make its own mark that’s simply different than the first (think Richard D. Zanuck).

In any case, it can be a balancing act. In the case of the 007 franchise, Albert R. “Cubby” Broccoli was a co-founder and a showman. His stepson and daughter succeeded him in the 1990s but had entirely different styles.

Wilson and Broccoli’s main accomplishment may have been to deal with changing executive regimes at Metro-Goldwyn-Mayer. Albert Broccoli and Harry Saltzman initially had the support of a firmly entrenched group of executives at United Artists, including Arthur Krim, Robert Benjamin and David Picker. That began to change in the 1970s (and after Saltzman departed the series). MGM acquired UA in the early ’80s and changes in the executive suite accelerated.

Also, Wilson and Broccoli were handed the reins in the midst of a six-year hiatus that might have killed the series. In the 21st century, MGM went through bankruptcy, another time of uncertainty.

Wilson and Broccoli may not have the publicity flair that Albert R. Broccoli had. Wilson has his P.T. Barnum moments, where his statements don’t always square with each other. Barbara Broccoli can rely on a few catch phrases such as “the money’s on the screen.”

Still, the pair remain in charge of the Bond franchise, which will result in the start of production of Bond 24 later this year.

The 50th anniversary of United Artists making a bet on 007

This past week was the 50th anniversary of the United Artists studio cutting a deal with two middle aged movie producers, Albert R. Broccoli and Harry Saltzman. The result of the 1961 agreement would be the James Bond film series, which would make its debut before audiences the following year with Dr. No.

United Artists today is an occasionally used brand controlled by Metro-Goldwyn-Mayer Inc. A half century ago, it was a functioning studio, albeit one that functioned differently than other studios. It didn’t have its own backlot, a la an MGM or Paramount. In fact, at that time even two companies primarily engaged in television production (Desilu and Revue) had their own backlots while UA didn’t.

What UA did have were executives including Benjamin Krim, Robert Benjamin and David Picker. Krim and Benjamin acquired UA from founders Charles Chaplin and Mary Pickford in the 1950s. Under the Krim-Benjamin regime, UA would cut deals people such as producer Walter Mirisch, producer-director Billy Wilder and actor-producer Burt Lancaster.

You might not get the same money at UA as you might get at other studios. But UA was also known to grant more creative leeway. Today, UA’s selection of films are part of MGM’s film library; the MGM lion logo is shown at the start of the UA films when they’re shown on television.

Anyway, UA was where Saltzman (who had a six-month option on the bulk of Ian Fleming’s 007 novels) and Broccoli ended up going. The John Cork-directed documentary Inside Dr. No described UA and its interest in Bond. Here’s the start of that documentary. At the 5:13 mark, you can see a copy of the June 29, 1961, press release UA issued about its agreement with Broccoli and Saltzman.

We’ll give a shoutout to the MI6 James Bond fan Web site, which reminded us of the UA/Broccoli-Saltzman anniversary. You can read its post about the subject BY CLICKING HERE.

For more about United Artists — whose non-Bond projects included The Heat of The Night, The Fugitive, The African Queen and many others — you can view Wikipedia’s recap of UA history BY CLICKING HERE. And, if you can track down a copy, we’d also recommend the excellent 1985 book Final Cut by the late Steven Bach, a one-time UA executive who writes about how the movie Heaven’s Gate wrecked the studio.

Cubby Broccoli’s relationship with United Artists

Steven Bach, a former United Artists executive, died March 25. He wrote a great book, Final Cut, about the making of Heaven’s Gate, the movie that doomed UA as a studio.

As it turns out, Bach’s 1985 book has a recurring, cameo chracter: Albert R. Broccoli, the James Bond producer. The book gives an insight (albeit in small doses) of the Eon bossman’s relationship with the studio that released the 007 films.

First, some background. In 1951, Arthur Krim and Robert Benjamin took over and revived UA. It was the Krim-Benjamin regime that first made the deal with Broccoli and Harry Saltzman to start the 007 series. Transamerica, an insurance concern, bought UA in 1967, while keeping on Krim and Benjamin. By 1978, Krim and his people bolted to start Orion. That led to the promotion of executives, including Bach, into key decision making roles.

In his book, Bach describes another UA exec, Danton Rissner and Andy Albeck, the new president of UA:

Rissner’s number two production job in the company had involved some important responsibilities, inclduing supervision of the James Bond pictures produced by Albert (“Cubby”) Broccoli and Blake Edwards’s successful Pink Panther series starring Peter Sellers, both of which were major sources of UA pride and income and which Albeck hoped to perpetuate. (Final Cut, page 68)

Later in the year, things weren’t going so well.

True, there were some bright spots. Moonraker was starting production in July (though there was still no formal budget when Albeck and I met with Cubby Broccoli and his staff at Studios Boulognes in June). (Final Cut, page 90).

UA hoped to control the Moonraker budget. It wasn’t going so well but UA wasn’t that concerned:

I filled the others in on my day at Studios Boulognes, where Moonraker was finally finishing months of production. We had hoped in June to contain the picture’s cost at $20 million, but it had gone beyond $30 million, a figure I was not about to raise here and now, and there was still unpredictable and costly special-effects work remaining at Pinewood…Whatever urgency I tried to convey about budget concerns was muted by assumptions everyone, including UA, made regarding Moonraker: James Bond couldn’t miss*

*He didn’t. Moonraker went on to become the biggest box-office success in the history of that remarkable series. Until the next one. (Final Cut, page 193)

Broccoli next comes up a couple of years later as the UA executive team is getting the ax following Heaven’s Gate and its heavy financial losses. Broccoli seems to act oddly when encountering UA exec Hy Smith in New York

Cubby seemed strangely, atypically nervous to Smith and left the restaurant quickly…

When Smith returns from lunch

Smith realized why Cubby Broccoli had beaten so hasty a retreat from Vesuvio’s…Broccoli confirmed that he had known Hy was fired and was shocked to realize…that everyone “on the street” but Hy knew that Hy was out of a job. Broccoli asked Hy to stay on with him as special marketing consultant on For Your Eyes Only. (Final Cut, pages 386-387)

If you can find it, Final Cut is a great read. And if you’d like to see Steven Bach’s obituary in The New York Times, you can just CLICK RIGHT HERE.