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.
Filed under: James Bond Films | Tagged: Barbara Broccoli, Bruce Feirstein, David Arnold, Donald E. Westlake, John Barry, Jon Burlingame, Metro-Goldwyn-Mayer, Michael G. Wilson, Michelle Yeoh, Pierce Brosnan, Roger Spottiswoode, Tomorrow Never Dies, United Artists | 3 Comments »