Author discusses The Many Lives of James Bond book

The Many Lives of James Bond cover

James Bond, whether the literary or screen version, always attracts writers wanting to examine the character.

Author Mark Edlitz’s new book, The Many Lives of James Bond: How the Creators of 007 Have Decoded the Superspy, has widened his attention to cartoons, video games, television, radio and other media.

The book is billed as offering “the largest ever collection of original interviews with actors who have played Bond in different media.” That includes performers beyond the six actors who played Bond in the long-running film series produced by Eon Productions.

The book also interprets creators broadly, including actors, directors, writers, song writers, artists and, in one case, a dancer.

The Many Lives of James Bond has five parts: Bond on Film, Bond in Print, Being Bond, Designing 007 and Bond Women.

In this interview, Edlitz discusses why he took on the book and the effort involved.

SPY COMMAND: There have been many books written about the literary and film James Bond. As you planned your book, what did you feel you could add? What areas needed to be addressed?

MARK EDLITZ: There have been many fantastic books about the cinematic and literary Bond; I have many of them. In fact, I assume that my ideal reader is a Bond fan who has read all of the books. Of course, books and films are the most visible part of the franchise, but they are not the only parts. So, I certainly cover both of them in detail. But I also explore the character of Bond in video games, radio dramas, television shows, and comic strips. 

The Many Lives of James Bond is a couple of things. One, it’s the most extensive collection of interviews with actors who have played Bond.  But it’s not always the Bond you’d expect.  Two, it’s also a look at the character as he is interpreted in different media by the artists who created them.

SC: How long did you work on the book? It has interviews with directors (Martin Campbell, among others), actors, and an academic. When did you start and when did you finally have a manuscript you could submit?

EDLITZ: The book took me a few years to write. Tracking down actors, writers, directors, and other artists can be a slow process. But my strategy was to take the book one chapter at a time. Eventually, you write enough chapters, put them all together and think, “Yup, this actually might be a book.”

Having said that, writing The Many Lives of James Bond took less time than my first book How to Be a Superhero, which was a collection of interviews with actors who played superheroes over the last seven decades. How to Be a Superhero took a whopping ten years to write. The Many Lives of James Bond took about three years.

The Many Lives of James Bond is a collection of interviews with the creators of Bond films, books, audio dramas, books on tape, poster artists, and more. I spoke to three Bond directors — Martin Campbell, Roger Spottiswood, and John Glen.

I talked with Bond screenwriters, novelists, comic book writers, and lyricists.  I also interviewed some amazing Bond poster artists, including the legendary Dan Goozee and Robert McGinnis. The two of them created some of the best and most unforgettable art from the entire series.

SC: How many of these are original interviews? How many are compiled from other sources? I ask because Sean Connery has been mostly out of public view for some years.

I conducted all of the full interviews in the book. There is also an appendix for sourced quotes from people who had either passed away or were not available to me. But that’s just a small portion of the book.

The lion share of interviews are brand new.  My self-imposed rule was if I could find the Bond actor and they would talk to me, I would devote an entire chapter to their work. I didn’t speak to Sean Connery.  Of course, I tried. But I’m not sure I would have been able to learn something new from him that he hasn’t already revealed.

I think the book’s strength is that I spoke to people who Bond actors who don’t typically get approached for interviews. For example, I interviewed the performer who played James Bond in the Oscars at the tribute to Albert R. Broccoli and the franchise. He played 007 while Sheena Easton sang “For Your Eyes Only.”

(Spy Command note: This took place at the 1982 Oscars when Broccoli received the Irving G. Thalberg Memorial Award. A video of the Easton performance is below. The Q&A resumes underneath the video.)

SC: What was your biggest surprise you found as you researched the book?

EDLITZ: There were several surprises. In The Many Lives of James Bond, I solve a longstanding Bond mystery. Bond fans have wondered about Bob Holness’s performance as Bond in the South African Broadcast Company’s production of Moonraker in the ’50s. No one recorded the production, and there is very reliable information about it.

I was able to track down Holness’s daughter, who gave me some very valuable information that proves once and for all when the production took place. And Brain McKaig of The Bondologist Blog shared his personal correspondence with Holness. That letter also sheds light on his performance.

Another surprise is Connery’s feelings about the part. We all know that he has complicated feelings about playing Bond. And that’s true. But there are some remarkable stories in the book about Connery returning to the role for his performance in the video game From Russia with Love.

I don’t want to spoil it, but he went through the arduous process of recording his dialogue for the day, and something happened to the audiotape. It was gone. The recording was gone. What happened next showed how loyal and magnanimous Connery can be.

SC: Do you think people take Bond for granted? The first novel came out in 1953. The film first came out in 1962. I think some fans think it’s guaranteed Bond will go on. But from what I’ve read, 007 has had some close calls over the years.

EDLITZ: I think there are probably elements of the Bond franchise that people take for granted. The general public probably doesn’t realize just how entertaining the Fleming novels are to read. There have been several periods where pundits said that Bond was done for.

In some cases, they were talking about the films. But Eon finds a way to change things up and make Bond continually relevant. In the periods between films, Bond fans read continuation novels and comic books to hold them over. While we wait for the next movie, Bond fans gather in message boards on websites and on podcasts, where they can talk and share information.

SC: Your book includes comments from the likes of Barry Nelson (who played an American Bond on CBS in 1954), Bob Holness (who played Bond in a radio production), and Bob Simmons (Sean Connery’s stunt double who also did the first gun barrel image). What did those guys bring to the party? (I actually defend the 1954 TV production, which many fans insist upon comparing to the films; for me, it’s something different.)

EDLITZ: Most casual Bond fans will say that only six people played Bond. They are, of course, talking about Connery, Lazenby, Moore, Dalton, Brosnan, and Craig. A slightly more serious Bond fan will mention David Niven or Barry Nelson. But the true Bond fans know that many actors have played Bond in different media.

I wanted to help shed light on some of their unique contributions. That’s why I tracked down actors who played Bond on the radio, on the cartoon James Bond Jr., and in the video games, to name a few.  Each of these performers has contributed to Bond’s legacy and I wanted to honor them for it.

As an aside, I also agree with you about the merits of 1954’s Casino Royale. When you read Barry Nelson’s comments about the production, you get the sense that he was disappointed with it. Of course, the live production took many liberties and wasn’t always faithful to Fleming’s novel. But what they did was pretty unique; especially for a live production in the ’50s.

SC: What do you think accounts for Bond’s durability?

That’s a good but tough question. It’s almost unanswerable.

The artists I interviewed in the book each have their own theories. The producers’ ability to change with the times plays a big part. I also think he’s possible because Fleming created an endurable character, who isn’t completely knowable.

(Screenwriter) Richard Maibaum made him slightly more accessible, added irony and Bond’s wit. But in all iterations; he retains his mystery.  But he’s malleable enough that he can be interpreted and reinterpreted by so many different artists and in many various forms.

The comic book Bond is different from the Bond of the video games, who is different from the Bond on the radio. Bond is also a perfect vehicle for our fantasies. (Screenwriter) Bruce Feirstein said that any guy who has ever put on a tuxedo thinks he’s James Bond. I agree.

SC: What was your reaction when you finally finished? Elation? Relief? Some other emotion?

EDLITZ: I’ll take D, all of the above. Also, I’m a bit wistful. I had a lot of fun writing it, and I’m a little sorry to let that go. However, I’m thrilled to share the book with my fellow Bond fans.

Many of those Bond fans have been generous, kind, and supportive to me during this process. For many Bond fans, the films and novels are just the tip of the iceberg. The way we deepen our love of the character is by reading books, magazines, and message boards about Bond. So I really hope that Bond fans enjoy The Many Lives of James Bond.

To see the Amazon listing for The Many Lives of James Bond, CLICK HERE.

Licence to Kill’s 30th anniversary: 007 falters in the U.S.

Licence to Kill's poster

Licence to Kill’s poster

Adapted and updated from a 2014 post.

Licence to Kill, which had its world premiere 30 years ago today, is mostly known for a series of “lasts” but also for a first.

–It was the last of five 007 films directed by John Glen, the most prolific director in the series.

–The last of 13 Bond films where Richard Maibaum (1909-1991) participated in the writing

–It was the last with Albert R. Broccoli getting a producer’s credit (he would only “present” 1995’s GoldenEye).

–It was the last 007 movie with a title sequence designed by Maurice Binder, who would die in 1990.

–And the it was last 007 film where Pan Am was the unofficial airline of the James Bond series (it went out of business before GoldenEye).

It was also the first to falter badly in the U.S. market.

Economy Class

Bond wasn’t on Poverty Row when Licence to Kill began production in 1988. But neither did 007 travel entirely first class.

Under financial pressure from Metro-Goldwyn-Mayer (which acquired half the franchise after buying United Artists earlier in the decade), Eon Productions moved the home base of the production to Mexico from Pinewood Studios.

Joining Timothy Dalton in his second (and last) outing as Bond was a cast mostly known for appearing on U.S. television, including Anthony Zerbe, Don Stroud, David Hedison (his second appearance as Felix Leiter), Pricilla Barnes, Rafer Johnson, Frank McRae as well as Las Vegas performer Wayne Newton.

Meanwhile, character actor Robert Davi snared the role of the film’s villain, with Carey Lowell and Carey Lowell and Talisa Soto as competing Bond women.

Wilson’s Role

Michael G. Wilson, Broccoli’s stepson and co-producer, took the role as lead writer because a 1988 Writers Guild strike made Richard Maibaum unavailable. Maibaum’s participation didn’t extend beyond the plotting stage. The teaser trailer billed Wilson as the sole writer but Maibaum received co-writer billing in the final credits.

Wilson opted for a darker take, up to a point. He included Leiter having a leg chewed off by a shark from the Live And Let Die novel. He also upped the number of swear words compared with previous 007 entries. But Wilson hedged his bets with jokes, such as Newton’s fake preacher and a scene where Q shows off gadgets to Bond.

Licence would be the first Bond film where “this time it’s personal.” Bond goes rogue to avenge Leiter. Since then, it has been frequently been personal for 007. Because of budget restrictions, filming was kept primarily to Florida and Mexico.

The end product didn’t go over well in the U.S. Other studios had given the 16th 007 film a wide berth for its U.S. opening weekend. The only “new” movie that weekend was a re-release of Walt Disney Co.’s Peter Pan.

Nevertheless, Licence finished an anemic No. 4 during the July 14-16 weekend coming in behind Lethal Weapon 2 (in its second weekend), Batman (in its fourth weekend) and Honey, I Shrunk the Kids (also fourth weekend).

Glen and Maibaum were done with Bond, the latter being part of the 007 series since its inception.

Bond 17’s Fembot

Initial pre-production of the next 007 film proceeded without the two series veterans. Wilson wrote a treatment in 1990 for Bond 17 with Alfonse Ruggiero that included a deadly fembot. Scripts with other scribes were then written based on that treatment. But that story was never made.

That’s because Broccoli would enter into a legal fight with MGM that meant Bond wouldn’t return to movie screens until 1995. By the time production resumed, Eon started over, using a story by Michael France as a beginning point for what would become GoldenEye. Maibaum, meanwhile, died in early 1991.

Today, some fans like to blame MGM’s marketing campaign or other major summer 1989 movies such as Batman or Indiana Jones and the Last Crusade. But Licence came out weeks after either of those blockbusters.

And, it needs to be repeated, Bond couldn’t best Honey, I Shrunk the Kids, which also came out weeks earlier.

In the end, the U.S. audience didn’t care for Licence. The movie’s total U.S. box office of $34.7 million didn’t match Batman’s U.S. opening weekend of $40.5 million. Licence’s U.S. box office was almost a third less than its 007 predecessor, The Living Daylights. Licence to Kill sold the fewest tickets in the U.S. among James Bond films.

Licence to Kill did much better in other markets. Still, Licence’s in worldwide ticket sales represented an 18 percent decline from The Living Daylights.

Blood Is Thicker Than Water

Some 007 fans blame a lackluster U.S. advertising campaign. However, Michael G. Wilson said in 2015 that Eon “really run the marketing ourselves” and the and the studios involved “execute it.” Did that apply to Licence to Kill? Or was Licence somehow an exception?

For Dalton, Glen, Maibaum and even Broccoli (he yielded the producer’s duties on GoldenEye because of ill health), it was the end of the road.

Michael G. Wilson, despite his enormous impact on Licence to Kill, remained in place. Blood (even adopted blood), after all, is thicker than water — or even box office receipts.

Why it may be time for Eon to modernize its P.R.

Eon Productions logo

You are making a major action-adventure film. Your star injures himself. What do you do?

If you’re making Mission: Impossible-Fallout, you get ahead of the story. Your writer-director Christopher McQuarrie gives an interview to Empire magazine to explain how things are under control even though star Tom Cruise broke his ankle.

Confirming that Cruise had broken his right ankle, McQuarrie assured Empire that his star remained in good shape, in spite of his injury. “Tom is great,” McQuarrie said. “He’s in very good spirits.”

Meanwhile, if you’re Eon Productions and your star, Daniel Craig, has suffered (apparently) a lesser injury, you stay quiet.

This week, The Sun, Rupert Murdoch’s U.K. tabloid, ran a story about how Craig hurt his ankle during Bond 25 filming. Other outlets summarized The Sun’s story, including Variety.

Throughout all this, there was no word from Eon, which has produced the 007 film series since 1962.

Finally, after about 24 hours, The Sun produced a follow-up story saying Craig’s injury wasn’t that bad and he’ll be back at work in a week or so.

Still, for that 24 hour period, others were dictating the Bond 25 story line to the general public.

The thing is, this is par for the course. Eon has a history of denying things that are true such as Ben Whishaw being cast as Q, Naomie Harris being cast as Moneypenny, John Logan being hired to write Bond 24 and 25 (before things changed), Christoph Waltz being cast as Blofeld and so on and so forth.

For that matter, Eon spun a fairy tale in the 1970s that Roger Moore was always the first choice (rather than Sean Connery) to play Bond. For that matter, in the 1980s, Eon’s principals said with a straight face that Pierce Brosnan had never been signed to play Bond and Timothy Dalton was always its first choice to succeed Roger Moore as 007.

We’re now almost one-fifth into the 21st century. Things change. What worked in the past, doesn’t necessarily work now.

You need a communications strategy where your viewpoint is made clear and plain at all times. If you’re making a movie that costs more than $200 million, you can’t be passive.

Truth be told, a big chunk of the 007 fan base acts as if this is still 1965 and Bond is the biggest thing on the planet. There are times that Eon appears to believe the same thing.

Whatever you believe, you can’t be passive in an age where social media helps shape the perception of your product. For one 24-hour period this week, Bond fans genuinely were wondering what was going on.

With silence from Eon, the notion that Craig suffered an injury serious enough to affect Bond 25 filming began to take hold.

This particular dust-up already is fading. But it still points to the need for a more pro-active public relations approach.

007 poll shows the devil is in the details

Image for the official James Bond feed on Twitter

Earlier this month, the Morning Consult and the Hollywood Reporter conducted a poll of almost 2,100 Americans about James Bond films. Here are two greatly different headlines summarizing the results.

Morning Consult’s report: “007 Poll Shows Scant Support for Diversifying Bonds.”

The Express, U.K. tabloid: “James Bond: Most Americans support a black 007 – Idris Elba BACKED to replace Daniel Craig.”

They’re both right but you have to dig into the data to see why.

According to Morning Consult, 51 percent of adult respondents said “the James Bond series was a classic and nothing about it should be changed, a 17-percentage-point edge over those who said they’d prefer to see the film adapt to the times and have a more diverse cast and lead.”

However, those polled were then asked additional groups about different groups and individuals.

Among groups, 52 percent of adults said they support the idea of a black James Bond, with 20 percent having no opinion and 29 percent opposing.

Also, 39 percent support a Hispanic Bond, 37 percent support an Asian Bond, 37 percent supported a female Bond and 28 percent support a gay Bond.

Meanwhile, when asked specifically about Idris Elba, 63 percent said  they wanted to see him play Bond, with only 21 percent opposed.

Meanwhile, Morning Consult had more details about how respondents feel about agent 007.

Nearly three-quarters (74 percent) of the adults polled said they’d at least watched some of the series. And with a net favorability of 62 points, only “Back to the Future” (74 points) and “Indiana Jones” (72 points) were more popular among films made before the 1990s. (“Toy Story” was the most popular movie franchise out of 34 series tested, while “Back to the Future” was second.)

The poll also tackled the issue of who is the most popular actor to play Bond in the Eon Productions series.

Most popular 007 film and Bond actor among Americans polled: Goldfinger and Sean Connery. 

Sean Connery was No. 1 at 82 percent, with Pierce Brosnan right behind at 81 percent. Roger Moore, who made 007 entries in the Eon series, was No. 3 at 74 percent, followed by current Bond Daniel Craig at 71 percent. The least popular Bond actors were Timothy Dalton at 49 percent and George Lazenby at 31 percent.

There’s also the question of favorite 007 films of Americans. Morning Consult again sued a “net favorability” number. On that basis, the top five were: Goldfinger (plus 69), From Russia With Love (plus 66), Live And Let Die (plus 66), Diamonds Are Forever (plus 65) and For Your Eyes Only (plus 64).

The highest Daniel Craig 007 film was his debut, Casino Royale, at No. 6 (plus 63), tied with You Only Live Twice.

The bottom? The Living Daylights, Dalton’s debut, (plus 48). SPECTRE, the most recent 007 film, was next at plus 49.

The Living Daylights script: Writing for a new Bond

Timothy Dalton’s gunbarrel for The Living Daylights

In 1986, writers Richard Maibaum and Michael G. Wilson were working on a new chapter for the cinematic James Bond.

Roger Moore’s era had ended. The choice of the next film 007 film actor would be unsettled. For a time, it was Pierce Brosnan. But when NBC and MTM Productions wanted him back for additional episodes of Remington Steele, Timothy Dalton seized the prize.

By the time Maibaum and Wilson were writing their second-draft script, much of the basic story had been settled. The story line and major set pieces in this script would, more or less, appear as they would in the final 1987 film.

Still, there were significant differences. Some scenes play differently. Also, the Maibaum and Wilson team appeared to be unaware of the basics of firearms.

Pre-credits sequence

The second-draft script (which doesn’t have a date on its title page) has a pre-credits sequence very similar to the finished product.

One major difference: This script begins at the London offices of Universal Exports (the MI6 front).  Nevertheless, the script wants to have a little suspense before the audience can see the new James Bond.

After an establishing shot, the script takes the reader to Moneypenny’s office. We’re told “as door opens” that “BOND’S HAND, holding hat, appears in doorway and poises to throw it toward COSTUMER in B.G.  TWO HATS already on pegs.”

As Bond tosses yet another hat on a peg, Moneypenny tells him that M wants to see him.

Inside M’s office, Bond joins two other Double-O agents and the stage directions specify none of the men’s faces can be seen by the camera.

M explains the assignment (an exercise to see if the Double-O operatives can penetrate the Rock of Gibraltar’s defenses). But in this script, M has a voice over of Gibraltar images.

When this script depicts the mission, the agents are only identified as first, second and third “DOUBLE-O MAN.”

They parachute down to Gibraltar. The first Double-O man is described as “a rugged, lantern jawed young man, but obviously not James Bond.” The second 00-agent “too, could not be James Bond.”

When the first “Double-O man” is killed by an imposter, we’re given a description of third.

THIRD DOUBLE-O MAN ON RIDGE
strapping on PARACHUTE CONTAINER. He turns INTO CAMERA. We now see his face. James Bond at last!

What follows is similar to the final film. Bond escapes while the imposter is killed in an explosion. Bond parachutes his way to a luxury yacht where he meets a woman named Linda. She is described as “impressed, amused and interested” after Bond lands.

The Defection

After the main titles, the primary plot of the movie unfolds. While similar to the final film, there are some major differences.

Bond, instead of attending a concert, 007 goes to a book store. He briefly encounters Halas an “elderly, book-wormy proprietor.”

007 provides some code words. “Have you a Czech first edition of Karl Marx ‘Das Kapital’?” Halas closes the book store.

This, however, is a prelude to Bond having his first meeting with Saunders, head of Station V, Vienna. Bond prepares to take out a Soviet-bloc assassin so that Soviet General Koskov can successfully defect.

As in the final film, Bond suspects something is up and doesn’t kill the supposed sniper. He takes over command of Koskov’s defection and tells Saunders to meet him at the border.

Halas (!) resurfaces, helping Bond and Koskov work their away around the grounds of the Soviet pipeline that’s bringing natural gas to Western Europe. Halas even says, “It is good to work with you again, Mr. Bond.”

Based on this script, Bond’s double cross of Saunders is even more elaborate than we’d see in the movie.

Still, this is all preliminary to Bond meeting up with Rosika Miklos, “a huge but attractive young woman.” Bond and Rosika arrange for Koskov to be taken pass the border in a “pig” via the pipeline.

General Gogol (?!)

After Koskov has made it to the U.K., he says he has defected because General Gogol of the KGB has gone mad.

“I tell you why I defect,” Koskov says. “General Gogol is why.”

Gogol (Water Gotell) had made appearances in Bond movies starting with 1977’s The Spy Who Loved Me. He had a significant role in that film, while showing up in Moonraker, For Your Eyes Only, Octopussy and A View To a Kill. (Gotell had also appeared as a SPECTRE villain in 1963’s From Russia With Love.)

In the final movie version of The Living Daylights, Gogol had joined the Soviet diplomatic service. He was replaced by Gen. Leonid Pushkin (John Rhys-Davies). Thus, Gotell received a cameo in his final appearance in the 007 film series.

On some James Bond message boards, fans argue there should be no attempts at continuity among movies. This script is not like the inter-connected movies made by Marvel Studios. But it is similar to the continuity of early 007 films, such as the references in From Russia With Love to Dr. No.

No Aston Martin (!)

After Koskov’s seeming defecting, Bond drives a Bentley to the MI6 safehouse where Koskov is being debriefed.

Later, when Bond gets Kara Milovy away from the KGB, the agent steals a KGB car and isn’t driving a gadget-laden Aston Martin. As a result, the sequence gets Bond onto a frozen lake much quicker than the completed film.

As the action unfolds on the frozen lake, an “ice yacht” happens by. The yachtsman helps rescue Czech policemen. This leads to an extended action sequence where Bond and Kara, more or less, end up in the same spot in the movie.

Finale 

The final film had a relatively romantic movie. This script? Not so much.

BEHIND SCREEN KARA BOND

his shirt already unbuttoned, awaits her. She gives startled gasp.

BOND
You didn’t think I would miss this performance did you?

She laughs delightedly, takes off his shirt.

Firearms

When Bond puts the squeeze on Gogol in Tangiers, this appears in the stage directions:

BOND slips a silencers out of his jacket pocket, then affixes it to his revolver as he moves behind GOGOL.

The problem with this is that silencers, generally speaking, don’t work as well on revolvers as they do on semi-automatic pistols. TV Guide, in the 1970s, mentioned silencers on revolvers as among TV-generated myths. (Another was how getting wounded in the shoulder in real life is very bad, while on TV shows, it’s like a flesh wound.)

THIS 2013 VIDEO explains some of the science involved. Some revolvers can be noise suppressed but they’re not common, the silencers are very large and they aren’t as quiet as depicted in movies and TV shows.

1990: Bond 17 treatment attempts a new direction

Timothy Dalton

In the spring of 1990, Eon Productions attempted to begin a new direction with its James Bond series.

Veterans such as screenwriter Richard Maibaum and director John Glen were gone following 1989’s Licence to Kill.

Michael G. Wilson, co-scripter of the previous five Bond films and stepson of Eon boss Albert R. Broccoli, worked with Alfonse Ruggiero, a television writer-producer whose credits included the crime drama Wiseguy.

For some, Licence to Kill came off as a bit drab. Locations were Key West, Florida, and Mexico. Its villain, Franz Sanchez, was a drug lord. A particularly powerful drug lord, but still a drug lord.

For Bond 17, Wilson and Ruggeiro appeared to want to make things more exotic, for what was intended as Timothy Dalton’s third adventure as Bond. Locations included Japan and Hong Kong.

Also present were robots.

At beginning of a treatment dated May 1990, there was this note: “The robotic devices refered (sic) to in this outline are complex and exotic machines designed for specific tasks and environments. They are to be designed especially for the film for maximum dramatic and visual impact.” More about that later.

The villain of the treatment is Sir Henry Lee Ching, “a brilliant and handsome thirty year old British-Chinese entrepreneur.” His plot is take over Hong Kong from the British and Chinese. His extensive business empire supplies key components for missile guidance, communications, navigation and weapon systems.

The female lead character is Connie Webb, “a beautiful American adventuress in her early 30’s.” She’s a former CIA agent who has gone free lance.

The robots involved primarily are industrial robots that malfunction, causing great calamity. Then, there’s the most sophisticated robot.

Sir Henry has a mistress named Nan. At one point, he emerges from a lovemaking session. “Through the open door Connie spots Nan laying prostrate on the bed behind a curtain of white flowing gauze.”

Later, Bond is reunited with Connie. But Nan appears “in form fitting corset and spandex shorts.” They decide they need to tie Nan up. However, Nan knocks Bond across the room. Connie tries her luck at subduing Nan. It is revealed….

“Nan is a lethal security robot!”

Of course, The Avengers television series had John Steed and Emma Peel deal with the Cybernauts in the 1960s. A few years later, the Austin Powers comedy films would have the International Man of Mystery coping with fembots.

This particular plot would not be produced and financial troubles at Metro-Goldwyn-Mayer contributed to a 1989-1995 hiatus for the 007 series.

However, the 1990 treatment shows that Eon was growing nostalgic for the Aston Martin DB5. Bond ends up driving one that has been revamped by Q. Bringing back the car was an idea that Eon retained.

The DB5 would show up later in the decade in GoldenEye and Tomorrow Never Dies. It appears to be the personal car of Pierce Brosnan’s Bond.

Daniel Craig’s Bond would win a left-handed drive DB5 in a poker game in 2006’s Casino Royale. He drives a right-handed drive DB5 (supposedly the Goldfinger car) in Skyfall and SPECTRE.

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.