Robert Sellers talks about his Broccoli-Saltzman Book

Cover to When Harry Met Cubby by Robert Sellers

Author Robert Sellers provided an in-depth look about the fourth James Bond film, Thunderball, with 2007’s The Battle for Bond. The writer has re-entered the world of Bondage with a new book, When Harry Met Cubby, about the founding 007 film producers, Albert R. Broccoli and Harry Saltzman.

The blog interviewed Sellers about his new book via e-mail.

THE SPY COMMAND: You did a comprehensive book about Thunderball. What about the Broccoli-Saltzman story enticed you to tackle their story?

ROBERT SELLERS: Mainly because no one had done it before, which is strange because seemingly every other aspect of the Bond films has been covered. But not the relationship between these two extraordinary men, not in any great detail that’s for sure. I just thought it was about time their story was told.

SC: The Broccoli-Saltzman partnership was a bit of an Odd Couple affair. What strengths did each partner bring? What was each partner’s weakness?

SELLERS: The words most people used to describe them was chalk and cheese. They shared almost nothing in common, save for drive, ambition and a love of movies. Personality-wise you couldn’t have had two more different individuals. That included their outside pursuits and social circles. If you went to Harry’s house for dinner, or you went to Cubby’s, even if there were 20 people at dinner there was no overlap. Cubby’s friends were completely different to Harry’s.

At the beginning there was this strange alchemy at work, theirs was a relationship that was based on two opposing points of view reaching the same objective and their combined qualities made for an ideal pairing. Things went bad after just a few movies, mainly because Saltzman had so many outside interests. Harry was always buying up companies, signing up talent or movie properties, he had so many other strings to his bow, other balls in the air, whereas Cubby knew that Bond was like the goose that laid the golden egg and was intent on preserving it and to make sure that nobody tarnished it. Broccoli never understood why Harry needed to make other pictures outside Bond and this did lead to friction between the two men.

Both men certainly brought a lot of separate talents to the Bond table. Harry loved the gadgets and gizmos, Cubby was very much concerned with the casting, making sure that the girls were pretty, and worrying about the script, that it didn’t get bogged down with too much dialogue, that it got on with the action, and that the storyline was straightforward enough so people from ten to 100 could follow it.

As (screenwriter) Tom Mankiewicz so brilliantly put it to me: “So much of the pizazz that went in Bond belonged to Harry, and much of the essence and soul of Bond was Cubby.”

SC: Saltzman exited the world of Bond in the mid-1970s. He is perhaps less well known to newer Bond fans compared with Broccoli (especially since Broccoli’s daughter and stepson still run the show). Should Saltzman be better remembered than he is? Why?

SELLERS: Absolutely. People have told me that in the early days Harry was the driving force behind the films, much more proactive than Cubby. That changed later on when Harry began to diversify all over the place. Harry was a real ideas man; he’d churn them out with machine gun rapidity. The only problem was most of his ideas were either too expensive, too impractical or downright dumb. So, it was a case of sieving through the bad ones to get to the good ones. But those good ideas were often absolute gems.

There was also something of the showman about Harry Saltzman, the spit and sawdust of the circuses he worked in during his early days in show business and it was these elements that he later brought to bear upon the Bond movies; everything had to have an over the top style. That was Harry’s circus philosophy, make it bigger, make it more spectacular, make it something audiences have never seen before. There was something of P. T. Barnum about Harry.

SC: Eventually, each partner alternated as primary producer for each Bond film. When did that start? As early as You Only Live Twice? Even earlier?

Albert R. Broccoli and Harry Saltzman pose with Roger Moore during the filming of Live And Let Die.

SELLERS: The fractures in the producer’s relationship was really highlighted around the making of You Only Live Twice, ironically at much the same time as both of them fell out with their star, Sean Connery.

There had always been disagreements behind the scenes, but what had begun to grate with Cubby was the feeling that his partner wasn’t as committed to Bond as he was. This growing imbalance between the two men in their commitment to the Bond pictures reached a point where Cubby just felt aggrieved that he was carrying the load of the franchise almost on his own. As a result, Cubby was pretty much the working producer on You Only Live Twice. I was told Harry never stepped foot in Japan once cameras started rolling.

By the time of Diamonds Are Forever, the two producers could no longer work together and it was decided they ought to take turns being the operating producer on each new Bond. As Guy Hamilton succinctly put it: “I can work very happily with Cubby, and I can work very happily with Harry. But working with Cubby and Harry together is a nightmare.”

SC: Without giving too much away about your book, what was the biggest surprise you encountered during your research?

SELLERS: I guess the thing I could say that impressed me the most was just how much creative control both producers had over the films.

According to Broccoli and Saltzman, there were two kinds of producers, the business and administrative producer and the creative producer. Both men identified themselves as creative producers, involved in all aspects of the filmmaking process, offering ideas and guidance and ultimately putting their individual stamp on the pictures.

In post-production, too, they were a presence in the cutting room and at rushes. Even when the film was in release their job wasn’t finished; they’d scrutinize ad campaigns, carefully go through every detail with the distributors, attend opening nights round the world and read reviews to gauge what the critics were saying.

This was especially important to Broccoli. He might be on holiday or visiting some city in the world, and if there was a Bond film playing, he would go in and sit and listen to the reaction of the audience to find out what they liked, and what they didn’t like.

The way each of them operated as producers on the set was different, though. Harry would be around, but you wouldn’t know he was there. He might be in his trailer or having meetings somewhere. Whereas Cubby was always very visual, always around. And he knew every crew member’s name. The crew loved Cubby, not so much Harry.

Ian Fleming, Harry Saltzman and Albert R. Broccoli

SC: In terms of the early Bond films, could any other producers have achieved what they did? Was it like catching lightning in a bottle? I know that a lot of the regular crew members (Ted Moore, Ken Adam, Richard Maibaum) had worked for Broccoli when he was partner with Irving Allen.

SELLERS: I honestly believe the Bond films would not have been the success they were without Broccoli and Saltzman at the helm. Probably their greatest contribution was selecting the right team for the films, many of whom had worked for Cubby before, people that he knew were dependable and could deliver the goods.

On Dr No, Broccoli and Saltzman chose the technicians with the same care and diligence as the actors. They brought together an excellent crew and encouraged them; that was their real talent, hiring the right people and allowing them the creative freedom to express themselves. Can you imagine what the Bond films would have been without the vital contribution of Ken Adam or John Barry? Or for that matter the skillful editing of Peter Hunt, who was brought in by Saltzman.

Broccoli and Saltzman were also risk takers. They knew that in the film business you have to take risks and have the strength of your conviction. Both men were not afraid to make tough decisions and both stood up for what they believed in.

There is no better example of this than their choice of Sean Connery to play Bond. When United Artists voiced their disapproval, Broccoli and Saltzman stood by their man, telling the studio top brass they intended going ahead with Connery or not at all. Instinct told them this was the guy. And history proved them correct, of course. That’s why the Bond films were a success under Harry and Cubby, all the decisions they made were the right ones.

When Harry Met Cubby: The Story of the James Bond Producers is set for publication in September from The History Press. You can view its Amazon entry BY CLICKING HERE. You can view its Amazon UK entry BY CLICKING HERE.

David Picker, ex-UA executive, dies at 87

David Picker (1931-2019)

David Picker, part of the United Artists executive team that struck the deal with Albert R. Broccoli and Harry Saltzman to launch the 007 film series, died Saturday at 87, according to The Hollywood Reporter.

The cause was colon cancer, according to the entertainment-news outlet.

Picker was among the UA executives who, in 1961, held a meeting in New York with Broccoli and Saltzman. He was head of production for the studio, which was led by Arthur Krim (1910-1994).

In the documentary Inside Dr. No, he said UA struck a deal with the producers the same day.

Picker wrote a 2013 memoir, Musts, Maybe and Nevers: A Book About the Movies. In the book, he took credit for part of the success of the Bond series.

“Much has been written about Bond,” Picker wrote. “Until now, no one has written in detail exactly what happened, how it happened and why it happened for one simple reason: they weren’t there.” The Bond series “would not have happened had it not been for this author’s belief in their potential.”

In the memoir, Picker wrote that Dr. No really cost $1.35 million, not the $1.1 million that had been budgeted and that he had found a way to provide the extra $250,000.

The 2011 book A Bond for Bond, published by Film Finances Inc., the company that provided the movie’s completion bond, published a copy January 1963 budget document with a figure in British pounds that was closer to the $1.1 million figure.

In 1969, Picker became president and chief operating officer at UA. For 1971’s Diamonds Are Forever, Broccoli and Saltzman signed American actor John Gavin to play Bond. PIcker, though, didn’t like the choice and wanted to try to re-sign Sean Connery, who had departed the Eon series after You Only Live Twice.

UA operated more like a bank than a studio. It didn’t have its own studio facilities, like a Warner Bros. or a Disney. It often gave the producers it worked with a lot of leeway.

But on this occasion, Picker won out and Connery was signed for $1.25 million, with UA agreeing to finance other films for the star. One movie, The Offence, was made under that deal.

Picker left UA in the 1970s. For a time, he became a producer himself, then held executive jobs at Paramount and Columbia Pictures.

Picker appeared in multiple documentaries made in the late 1990s and directed by John Cork about Bond movies. He also was among those interviewed for the 2012 documentary Everything or Nothing about the 007 film series.

If Twitter existed in the early days of 007 films

Twitter logo

Twitter, founded in 2006, drives a lot of the conversation on social media.

When it comes to movies and TV shows, Twitter often is a medium for fans to express themselves about movies and TV shows. It’s also a way for various media outlets to blast out headlines before publishing stories.

With that in mind, here are some of the tweets that could have been posted in the earliest days of the James Bond film franchise.

Sean Connery’s casting as James Bond is announced.

–They cast WHO? The guy is balding and he has bad teeth!

Production on Dr. No begins

–Dr. No is a half-day behind schedule after its first day of filming! This movie is doomed!

–I hear the reason for the delay was Jack Lord was late. Bloody American!

–Rumor has it the fourth day of shooting was almost a total loss. Does this production know what it’s doing?

–The Dragon keeps breaking down! Lousiest machine I’ve had to work on!

Things get serious when the movie goes to post-production.

–Film Finances, the company that provided the completion bond for Dr. No, has taken over control. This production is doomed!

–Word is Film Finances has impounded a big chunk of Terence Young’s salary until it gets its money back. What a messed up production this is!

The movie comes out

–Felix Leiter?! He wasn’t in the book!

–Hey! They changed the ending! What happened to Dr. No being buried under guano?!

Eon makes From Russia With Love as the second film in the series

–Call Me Bwana? It was Niagara in the book! And it was Marilyn Monroe, not Anita Ekberg!

–I must say Lotte Lenya is far too glamorous to play Rosa Klebb!

–Pedro Armendariz just committed suicide. How tragic! I wonder if they got all the Darko Kerim footage they needed.

–Terence Young was almost killed in a helicopter accident! Is this production jinxed?

–There’s a rumor that they set off explosions for what was intended as run-through. Do these jokers know what they’re doing?

–Hey! They changed the ending! Bond went all the way to Paris in the book!

–I still don’t know about this Connery guy.

Tania Mallet, Goldfinger actress, dies

Tania Mallet in a Goldfinger publicity still.

Tania Mallet, who had a small but key role in Goldfinger, has died at 77.

Her death was reported on Twitter on Sunday by the MI6 James Bond website. Later, the official Eon Productions 007 feed on Twitter also posted about her passing.

In 1964’s Goldfinger, Mallet played Tilly Masterson, sister to Jill Masterson (Shirley Eaton), who had been killed by being “painted gold,” causing skin suffocation.

Tilly seeks to avenge her sister’s death and is tailing Auric Goldfinger (Gert Frobe) in Switzerland. She takes a rifle shot at Goldfinger but almost hits Bond (Sean Connery).

The Tilly part was shortened compared with Ian Fleming’s 1959 novel. In the film, after the botched killing attempt, Bond follows Tilly (driving a Ford Mustang, the first movie to feature the model).

This provides the filmmakers the first opportunity to show off some of the gadgets of Bond’s Aston Martin DB5. The DB5 disables the Mustang. Bond gives Tilly a lift in the DB5 and deduces she’s lying about her case that supposedly contains ice skates.

Later, Bond is conducting surveillance of Goldfinger’s Swiss factory. He returns to his perch but sees a figure with a rifle. It turns out to be Tilly and Bond finalizes realizes she is Jill’s sister. Just then, the duo have to make a run for it from Goldfinger’s thugs.

The following sequence gives Bond a chance to put the DB5 through its paces, including a smoke screen and oil slick. Mallet’s Tilly acts as a surrogate for the audience, smiling as the miracle car shows off its stuff.

The joy, however, is short lived. Bond is forced to stop the DB5 and he instructs Tilly to make a run for it. By this time, Oddjob (Harold Sakata) arrives. He kills Tilly by throwing his armored hat at her, breaking her neck.

The mood suddenly turns serious and dramatic, turning an over-the-top prop into something serious. The scene is helped by John Barry’s music. It’s arguably one of the most dramatic moments in the movie.

As a result, Mallet made an impact in the film, from being the first screen character to drive an iconic car to being one of the movie’s “sacrificial lambs.”

Here’s the tweet from the official Eon site on Twitter:

https://platform.twitter.com/widgets.js

UPDATE: The Hollywood Reporter posted an obit for Mallet that noted she was a cousin of actress Helen Mirren.

Shane Rimmer dies at 89

Shane Rimmer (1929-2019)

Shane Rimmer, a character actor who often played Americans in British-based productions and who appeared in three James Bond films, has died at 89.

His death was reported by the Official Gerry Anderson Website. Rimmer was a voice on Anderson-produced shows, including Thunderbirds. The website said his death was confirmed by his widow, Sheila Rimmer.

Shane Rimmer appeared in You Only Live Twice (1967), Diamonds Are Forever (1971) and The Spy Who Loved Me (1977). The latter provided the actor with his biggest 007 role, that of a U.S. submarine captain who assists Roger Moore’s James Bond.

Rimmer was born in Toronto. After moving to the U.K., he became a busy actor. Besides his work for Anderson and the Bond films, his credits included Dr. Strangelove, Superman II and various television shows, including The Persuaders!

In 2016, Rimmer did an interview where he reflected on working with Anderson, Dr. Strangelove director Stanley Kubrick and screen Bonds Sean Connery and Roger Moore.

UPDATE: The official James Bond Twitter feed from Eon Productions also paid tribute to Rimmer.

 

Christmas themed spy-related entertainment

On Her Majesty’s Secret Service poster

The holidays are fast approaching. With that in mind, the blog is reminded of some Christmas-themed spy-related entertainment.

On Her Majesty’s Secret Service (1969): The sixth James Bond film produced by Eon Productions may not be an “official” Christmas film but it’ll do.

James Bond (George Lazenby) is hunting for Ernst Stavro Blofeld (Telly Savalas) while also falling in love with Tracy (Diana Rigg).

This time out, Blofeld has brainwashed his “angels of death,” who will spread “virus Omega” at the villain’s command. If that happens, that will wipe out all sorts of crops and livestock.

Bond manages to go undercover at Blofeld’s lair in Switzerland but is discovered. Blofeld sends out his latest batch of “angels” on Christmas Eve. Bond manages to escape, meets up with Tracy.

Bond proposes to Tracy, but she gets captured by Blofeld, setting up a big climatic sequence.

It was the first Bond film to end unhappily when Tracy is killed on her honeymoon with Bond. It’s arguably the most faithful adaptation of an Ian Fleming novel and an epic film in its own right. And, for what it’s worth, there are many reminders of Christmas during the Switzerland sequences.

Teaser trailer for Diamonds Are Forever: Diamonds Are Forever was released for the Christmas move season of 1971. The teaser trailer played up the Christmas angle.

The movie also marked Sean Connery’s return as Bond after a four-year absence. But the teaser trailer had a gunbarrel without Connery (but still wearing a hat).

Teaser trailer for The Man With the Golden Gun: The teaser trailer for Roger Moore’s second 007 film utilized a similar Christmas theme.

On top of that, the trailer had a scene between Bond and Scaramanga (Christopher Lee) that didn’t make it into the final film.

Chairman Koz makes a point to Solo and Illya in The Jingle Bells Affair

The Man From U.N.C.L.E.: The Jingle Bells Affair (first broadcast Dec. 23, 1966): The story begins in New York during the Macy’s Thanksgiving Day parade (the start of the Christmas shopping season). U.N.C.L.E. agents Napoleon Solo and Illya Kuryakin (the latter, after all, a Russian) are acting as bodyguards for a Soviet leader, Chairman Koz (Akim Tamiroff).

Why Soviet? In one scene in Act III, Koz slams a shoe down on a desk, a la Nikita Khrushchev.

At one point, Koz gets separated from the U.N.C.L.E. agents and dresses as Santa Claus and interacts with children. Koz, dressed as Santa, helps to save the life of a sick kid. In the end, East and West call a truce and wish everyone Merry Christmas.

This was a third-season episode when the series went in a campy direction. The Spy Commander’s review on the third-season page of The Man From U.N.C.L.E. episode guide doesn’t give it a high grade.

The FBI: Dark Christmas (first broadcast Dec. 24, 1972): FBI Inspector (Erskine) and Special Agent Colby (William Reynolds) are on the trail of a hit man (Don Gordon). The hit man’s target is a family man who once was involved in a criminal organization but got out.

The case reaches a climax on Christmas Eve. The family man is coming home from a job but doesn’t know the hit man is waiting for him at his home. Colby and other FBI agents get the man’s children to safety. Erskine then confronts and apprehends the hit man. Until Act IV, the episode is a basic procedural show. The Christmas themes are mostly in the final act and epilogue.

While The FBI wasn’t a spy show per se, it had a lot of espionage-related stories. Also, it’s the subject of another website of the Spy Commander, The FBI episode guide. This episode gets a relatively high grade on the eight-season page.

Note: This was an early credit for Sondra Locke (1944-2018), who plays a spinster-like character who falls for Gordon’s character.

007 scripts and a gun to be auctioned

Screenplay title card for Thunderball (1965) that references Jack Whittingham

Thunderball scripts and related documents from writer Jack Whittingham and a Walther PPK that belonged to actor Bernard Lee are to be sold at separate auctions.

On Dec. 11, “seven items from the personal archive of the daughter of acclaimed British playwright and screenwriter Jack Whittingham will be auctioned” according to a statement by Bonhams.

Whittingham was the screenwriter employed by Kevin McClory in an attempt to make a James Bond film a reality. The project wasn’t successful and Ian Fleming wrote his Thunderball novel based on the material. A court fight ensued. In a settlement, McClory got the film rights to the novel. Eon Productions brought McClory into the fold for 1965’s Thunderball. McClory was involved with competing 007 projects of which only one, 1983’s Never Say Never Again, was made.

Among the items being auctioned by Sylvan Whittingham Mason are:

–A 35-page treatment dated Nov. 10, 1959 and titled James Bond of the Secret Service.

–First draft script titled Longitude 78 West.

–Letters and documents between Whittingham, McClory, Ian Fleming and others.

Bernard Lee (1908-1981)

Meanwhile, a Walther PPK handed to Sean Connery’s 007 in an early scene of 1962’s Dr. No is being auctioned, according to the BBC. An excerpt from the story:

The Walther PPK pistol was owned at the time by M actor Bernard Lee, who brought it on set when a prop was not available.

A letter signed by Lee confirms the then fully-active gun was the “first ever to appear in a James Bond film”.

Auctioneer Jonathan Humbert described the piece as a “superlative piece of British film history”.

In the scene, M forces Bond to give up his Beretta .25 handgun (“It jammed on you last job.”) and take the Walther instead. The scene was a straight adaption of Fleming’s 1958 novel.

UPDATE (1:20 p.m., New York time): On social media, some fans say the gun seen in Dr. No is really a Walther PP, not a PPK. As a result, they’re questioning how valid this item is. A website (new to me) called the Internet Movie Firearms Data Base states this as so. (The site looks similar to Wikipedia with a logo looking similar the Internet Movie Data Base). So if you’re thinking about bidding, Caveat Emptor.

UPDATE (4:50 p.m., New York time): The blog looked up the actual listing for the gun being auctioned. Here’s part of what the listing says:

“This Walther PPK was the personal property of Bernard Lee (who played ‘M’) and was gifted to the vendor (referred to as ‘your boy’ in above letter). According to Eon Productions- the ‘call list’ for this scene (list of props required for filming) included ‘a gun’ however, said gun was not available at the time of filming so Bernard Lee bought in his own. It is famously known that a Walther PP, not a PPK was in fact used in the balance of the filming- and likely Bernard Lee’s ‘live and unregistered’ PPK was inappropriate for filming on location and Eon’s PP was the only substitute available. This is therefore, the first of the famous James Bond Walther PPKs to appear in a Bond film.”

I have the feeling that explanation isn’t going to satisfy many, but there you have it.