Pierce Brosnan in "The World is Not Enough" (1999) (Photo copyright: Danjaq/Eon)
"Shaken, not stirred". Those legendary words have been spoken many times in the James Bond films in relation to how 007 prefers his Vodka Martinis to be prepared. But as Daily Beast writer Noah Rothbaum points out in an article about the origins of that drink, it was largely the screenwriters who made Bond's instructions a catch phrase as opposed to the Ian Fleming novels on which the early movies were based. Click here to read some interesting insights into the drinking habits of the world's best known secret agent.
Guy Hamilton and Roger Moore on the set of "The Man With the Golden Gun" in Thailand, 1974.
BY LEE PFEIFFER
Cinema Retro mourns the loss of director Guy Hamilton, who has passed away at age 93. Guy was an old friend and supporter of our magazine and a wonderful talent and raconteur. Hamilton, though British by birth, spent much of his life in France. After WWII, he entered the film industry in England and served as assistant director to Sir Carol Reed, working on the classic film "The Third Man". He also served as AD on John Huston's "The African Queen". Gradually, he moved up the ladder to director and helmed such films as "An Inspector Calls", "The Colditz Story" and "The Devil's Disciple", the latter starring Burt Lancaster, Kirk Douglas and Laurence Olivier. In 1964 Hamilton was hired to direct the third James Bond film "Goldfinger" and made cinema history. Hamilton found the perfect blend of humor and thrills and the film started the era of Bondmania that would see Sean Connery boosted to the status of international superstar. He also directed the Michael Caine spy thriller "Funeral in Berlin" for Bond producer Harry Saltzman in 1967. He worked once again for Saltzman on the ambitious epic WWII film "Battle of Britain" in 1969, a highly complex film to make given the logistics of recreating dogfights in the skies over England.
Bond producers Saltzman and Cubby Broccoli reached out to Guy Hamilton again in 1971 to direct "Diamonds Are Forever", the film that marked Sean Connery's return to the James Bond series after a four year absence. The film was an enormous success but it also initiated a swing toward more overt humor, which reflected Hamilton's personal vision of the series. When this writer asked him over a dinner in London many years ago if he felt that the increase in jokes and gags was an artistic mistake, Hamilton insisted it was not, although he acknowledged that he had probably alienated some of the more traditional Bond fans. In fact, Hamilton said that his initial plans for the script of "Diamonds Are Forever" would have seen Bond in Disneyland battling SPECTRE agents dressed as famous Disney characters. Hamilton's emphasis on laughs in the Bond films perfectly paved the way for the Roger Moore era which began in 1973 with "Live and Let Die". Hamilton was retained to direct that film as well. Moore agreed with Hamilton's emphasis on overt humor and that angle would largely define the Moore films which lasted through "A View to a Kill" in 1985. Hamilton would direct Moore's second Bond film, "The Man With the Golden Gun" in 1974. He was initially scheduled to direct "The Spy Who Loved Me" but due to his residency in France, tax complications ensued regarding his ability to work for an extended period in England. Ultimately, Lewis Gilbert directed the film. Hamilton's post-Bond era movies included the Agatha Christie thrillers "The Mirror Crack'd" and "Evil Under the Sun", as well as "Remo Williams: The Adventure Begins" and "Force Ten From Navarone". Of the latter, I once asked him if the disappointing movie went wrong during filming. Characteristically, Hamilton told me that it had a lousy script from day one and he knew it would be a lousy movie. However, he was winding down his involvement in the film industry and agreed to do the movie because the producers purchased a beautiful home for him in Spain. He said it was truly "an offer I couldn't refuse".
As age took its toll, Hamilton made fewer trips outside of Spain. However a few years ago, Cinema Retro's Dave Worrall and Gareth Owen accompanied Hamilton to an outdoor screening of "Goldfinger" in London. He had the satisfaction of seeing how well received his movie was even after half a century. Guy Hamilton was the epitome of the British gentleman and a skilled filmmaker as well. His contributions to the movie industry, and the James Bond series in particular, are secure in film history.
The historic Pickwick Theater in Park Ridge, IL, will be
celebrating the 50th Anniversary of THUNDERBALL with the screening of the
classic James bond blockbuster film on Thursday, April 21, 2016 at 7:00pm.
Hosts Matthew Hoffman and Elizabeth Rye of the Classic Film
Series welcome as special guests, representative of the Ian Fleming Foundation
Colin Clark, and 007 continuing novelist and film historian Raymond Benson, who
will introduce the movie and sign books.
IFF board member Colin Clark will have on display from the
Foundation the five foot model of the RAF Vulcan Bomber use in the filming
of the picture, restored to its original condition.
The evening's festivities will include discussion of
Thunderball's history and behind-the-scenes stories, several Bond-related
raffles, and photo ops with Bond movie props and theater standees.
Pickwick's Classic Film Series presentations often draw fans
in costume. Attendees are invited to dress as their favorite Bond, Bond Girl,
or Bond Villain.
On Wednesday, April 20, 2:00 a.m. CST, Hoffman and Clark
will appear on Chicago's WGN AM720 morning radio show with host Nick Digilio to
talk about the Pickwick's special Thunderball celebration and all things Bond.
The latest James Bond hit "Spectre" starring Daniel Craig is now available for pre-order from Amazon. The Blu-ray set, which includes a digital copy, will ship in the USA on February 9. The Blu-ray includes video blogs made during production of the film, a look at the spectacular opening sequence in Mexico and a photo gallery.
Customers can save $17 off the list price by clicking here to order.
Cinema Retro has asked author Michael Richardson to write an exclusive article for us regarding what influenced him to write his new book "The Making of Casino Royale".
BY MICHAEL RICHARDSON
The sixties James Bond spoof Casino
Royale was a psychedelic multi-storylined extravaganza of improvisation and the
constant rewriting of various screenplays, brought about after negotiations
between producer Charles K Feldman, Eon Productions, United Artists and
Columbia Pictures failed to bring about a co-production. Realising that he
would have to proceed without Bond actor Sean Connery, Feldman crammed his
picture with as many famous names as possible: Peter Sellers, Woody Allen,
David Niven, Ursula Andress, Orson Welles, Deborah Kerr, Daliah Lavi, Joanna
Pettet, Barbara Bouchet, William Holden and Jean Paul Belmondo to name but a
few. The cast also included several unbilled cameos such as: Peter O’Toole,
Caroline Munro, Dave Prowse, John Le Mesurier, Fiona Lewis and ex- Formula 1
racing driver Stirling Moss.
I had watched Charles K Feldman’s Casino Royale on
television many times before a friend of mine furthered my interest in the
production by pointing out the different plotlines and disjointed nature of the
screenplay. Over the years, I both researched and came across much more
information about the hap-hazard manner in which CasinoRoyale was produced,
which only wetted my appetite to learn as much as I possibly could about this
feature film that had somehow managed to get out of control. My fascination
with this craziest Bond film of all eventually brought about an exchange of
faxes with director Val Guest, who was living in California at the time. When
Guest made a flying visit to London for Christmas 2005, I telephoned him at his
London home in Belgravia just before the New Year and we discussed the
production in great detail.
Sometime later I was reading an interview with
Guest, where he was quoted as saying, ‘There’s a whole film to be made about
the making of Casino Royale!’ This made me think, though obviously making a
movie was beyond my abilities and resources, but writing a book that outlined
both the development and production of the film was certainly something I could
do. Doubling my efforts to obtain even more information regarding the film, I
read through every Peter Sellers, Woody Allen, Orson Welles and David Niven
biography I could locate. However, this was just the beginning as I then began
consuming every book associated with anyone who had worked on the film
including actors: Dave Prowse, Ronnie Corbett, Peter O’Toole, Chic Murray and
Duncan Macrae, directors: Val Guest, John Huston and Robert Parrish, plus
writers: Wolf Mankowitz and Terry Southern. My quest for additional knowledge
involved the scouring of both British and American film industry publications
of the time, plus searches through many website features and on-line archives
and even obtaining the French published Ursula Andress biography, despite not
being able to read or speak the language.
The Making of Casino Royale (1967)
explores all aspects of production, including the origins of Ian Fleming’s
novel and subsequent screenplays, the casting choices, pre-production, filming
at three British film studios, location filming in England, Ireland, Scotland
and France, plus publicity and merchandising. This gives an overall picture of
how this strange psychedelic pop art movie was assembled from several different
storylines that involved no fewer than seven directors (including two second
unit directors), working from a screenplay credited to three writers, although
known to have input from at least nine other people including Peter Sellers and
Woody Allen. Eventually, I amassed enough information to
assemble a production schedule with dates for the picture, which indicates in
which order the various segments were filmed, who was directing and which major
cast members were present.
The story behind the making of this
film outlines how what was happening behind the scenes was just as bizarre as
anything happening in front of the cameras. The book also pieces together what
material was filmed and then discarded from the movie, by using reference
sources such as production stills, portions of scripts and anecdotes about the
making the film. Overall this outlines the story of a major blockbuster movie,
which got out of control to become one of the most complicated productions
filmed and the most bizarre James Bond film ever. Almost 50 years after being produced the elements that originally worked
against the sixties Casino Royale, such as the lack of a coherent storyline and
the sending up of James Bond, are now considered to work in its favour and have
assisted in making it a cult slice of sixties psychedelia.
to whet your appetite I can confirm that you will discover the answers to the
1 During development, which James Bond
actor was approached about playing the character for what would have been the
first time in June 1964?
2 During December 1965, which actress
well known for appearing in The Avengers television series was named in the
American press as being lined-up to appear in Casino Royale?
3 For his cameo role in the Scottish
Marching Band sequence, what did Peter O’Toole accept as payment?
4 Why did Sarah Miles turn down the
role of Meg, one of the McTarry daughters?
5 What did Shirley MacLaine do the
week before principal photography was due to commence that stopped production?
6 Why was Blake Edwards turned down as
a director for Casino Royale?
7 After suffering the bad experience
of having his screenplay constantly rewritten while making the film What’s New
Pussycat? why did Woody Allen agree to work with Charles K Feldman again on
8 What role was Dave Prowse originally
going to play in Peter Sellers’ nightmare?
Following its popular exhibition at Madame Tussauds in London, the six James Bond wax figures are now on display in the Hollywood branch of famed museum. Fans can pose with likenesses of Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig. Lazenby's agreement to do a sitting last February made completion of the exhibit possible. The other five actors had previously had likenesses of them on display at various time periods at the museum. For more, including a link to buy tickets, click here.
The band Radiohead confirmed that they had indeed been asked to write a theme song for the blockbuster James Bond film "Spectre". However, their track was rejected in favor of Sam Smith's "Writings On the Wall". Nevertheless, Radiohead was very pleased with their effort and just made it available for fans to experience. For more on the Radiohead/Bond connection click here.
Writing for the superb 007 web site "From Sweden With Love", Cinema Retro columnist Mark Cerulli pays a visit to one of the most memorable James Bond villains: Putter Smith, who portrayed half of the gay hit men team in the 1971 007 flick "Diamonds Are Forever", squaring off against Sean Connery. . Smith, an acclaimed jazz musician, reminisces in part one of this recent interview. Click here to read and to view a fascinating deleted scene from "Diamonds Are Forever".
the mid 1960s James Bond was everywhere – it was the beginning of the “movie
tie-in” era and when Thunderball was released, Bondmania exploded with numerous 007-flagged consumer items from
dive masks to racing sets, men’s cufflinks and beach towels...
almost every movie has a “marketing partner” of some type – tires, toys, cars,
watches, etc. (Try walking into a store
today and avoiding the Star Wars logo!) But for a while, Bondmania has returned – especially in Europe.
now, we all know what watch Bond wears. (Hint: it ain’t a Rolex anymore…) In Paris and London, Daniel Craig’s chiseled
face stared down from massive Omega billboards and store displays for their
beautiful (but pricey) Spectre edition watch.
also publishes Lifetime, a glossy,
high-end magazine aimed at serious watch enthusiasts. The current issue is devoted to Spectre with
in-depth coverage of the film and products related to it. Definitely worth picking up from their
the world is thirsty work so Heineken, a longtime 007 marketing partner,
returns with specially designed packaging and a number of promotional items
like a bottle opener and bottle-shaped flash drive.
vodka of choice in Spectre is Belvedere. Loo7k for their special 007 bottles
and their limited edition Martini set. If anyone needed an excuse to try a martini, this is it!
favorite bubbly is back for Spectre as well – Bollinger Champagne. Their elegant
007 limited edition Bottles are expensive – (145 Euros at the Paris Airport)
but they look like true objets d’art… and of course the beverage they contain
is precious. No wonder Bond drinks it! If one really has money to burn, Bollinger also offers the Spectre
limited edition Crystal Cooler that would look at home deep within a volcano
crater or on an upscale holiday dinner table!
you’re ready for a cloo7se shave, Gillette is inviting consumers to experience
“Bond Moments”, no Walther PPK needed, just a ProGlide razor in a Holiday Gift
Pack, which curiously offers no 007 branding in the U.S.A market.
However, in the UK, the packaging at least features the Spectre film logo though its relationship to the film is tenuous at best.
Blofeldish? The iconic Spectre ring is available on the official Bond website
for a not unreasonable $216.
Doulton caused a stir with the Jack the Bulldog figurine, which sat on M’s desk
in Skyfall. They created a limited edition
to tie in with that film. Now Jack is
back – in a slightly charred form in keeping with his appearance in
Spectre. Fortunately it’s available on
the Royal Doulton website!
quick and by no means comprehensive listing of Spectre products would not be
complete without mentioning THE ultimate 007 tie-in that only a very few fans
will be able to own. Probably the most
exclusive Spectre product of them all – the achingly beautiful Aston Martin DB9
GT “James Bond Edition”. Only 150 of these
were made and all were sold in a flash – even at a $237,007 price. The folks at Aston were feeling generous, so
for that money, they’ll throw in an Omega Seamaster Aqua Terra. Not a bad deal at all!
is just a smattering of available Spectre products. The European market has many other
participating brands – chief among them beautiful and tres expensive 007 pens
and lighters from luxe French manufacturer, S.T. Dupont; bespoke clothing and
more. Everything but radioactive lint…
Last May, in anticipation of the 30th anniversary of Roger Moore's final James Bond film, "A View to a Kill", writer Michael Coate of The Digital Bits web site solicited extensive comments and reflections on the film from a number of 007 scholars including Cinema Retro Editor-in-Chief Lee Pfeiffer. Whether you love or loathe the film, every Bond fan seems to be very opinionated about it. Click here to read the article.
“Vodka Martini, shaken, not stirred.” As soon
as James Bond uttered that iconic phrase, the vodka martini became as much a
part of the character as his Aston Martin or Walther PPK. While previous films have seen 007 quaff a
certain Dutch beer and we know he likes Sake (as long as it’s served at the
correct temperature), in SPECTRE, Bond is back to his beverage of choice – and
that choice is Belvedere.
President Charles Gibb told Cinema Retro that, “We are absolutely thrilled that Belvedere
is associated with James Bond and SPECTRE. Everybody knows that Bond is a man of distinction and that his drink of
choice is a Belvedere martini.” The
partnership is Belvedere’s biggest to date and to drive home the 00
association, the brand has pulled out all the stops, creating two limited
edition Bottles (one of which has its own lighted base) as well as a Martini
Set complete with elegant 007-etched glasses.
London, Belvedere further tied into SPECTRE by staging an invitation only
screening and vodka bash at Loulou’s, a very trendy private club in upscale
Mayfair. They picked up the film’s Day
of the Dead vibe with costumed dancers and waitstaff; and the barmen created a number of beverages,
chief among them the Belvedere Vodka Martini. The drinks were happily consumed by the hip, young crowd that descended
from the nearby screening. I felt it my
duty to try one… maybe two and they were delicious – crisp with a splash of
olive juice. Mmmmm. Everyone was in a
buoyant mood – there was praise for the film and, of course, the free-flowing
Belvedere put everyone in the holiday spirit.
film left this scribe mightily impressed, easily the best of Daniel Craig’s
Bonds. Go see it – then toast 007 with amartini! (Belvedere, of course.)
Cinema Retro has received the following press release:
November 3rd 2015) MI6
Confidential, the full-colour magazine celebrating theworld of James Bond 007, returns with its
predecessor. Director Sam Mendes attracted talent in the form of leading actors
Christoph Waltz and Léa Seydoux, he brought on up and coming cinematographer
Hoyte van Hoytema and took Bondonaneightmonthwhirlwindtourthatincludedlocationworkonthreecontinents.Thisissue celebrates
the bombastic SPECTRE with a
full account of the location work, as well as catching up with Daniel Craig,
his co-stars, and Bond producers Broccoli and Wilson with interviews conducted
just days before the film enjoyed its worldpremiere.
Featured in thisissue:
·No Small Part - Daniel Craig on his
commitment to the 007role
·Around The World With SPECTRE - The globetrotting location
shoot for Bond24
Japanese original release 45 RPM for "Goldfinger".
Writing on the Digital Spy web site, Simon Reynolds and Hugh Armitage provide another of those meaningless but irresistible "Best/Worst of..." lists. This time, it pertains to ranking the James Bond title songs from worst to best. You'll undoubtedly take issue with some of their opinions, but at least they had the good taste to rank the song from "Quantum Of Solace" at rock bottom with the dud title tracks from "Die Another Day" and "The Man With the Golden Gun" breathing down its neck. They also generously provide ample film clips to remind those less familiar with the world of Bond music of the vast difference in the style of the songs over the decades. Click here to read. - Lee Pfeiffer
hallmark of any James Bond film has been the opening gun barrel sequence. It
sets the tone for what's to come, and always sends a shiver up the spine in
anticipation of what is about to unfold. However, since Die Another Day this tradition has been revoked and (much to the
annoyance of millions of fans around the world) relegated to the end of the
films. Not with SPECTRE. It is now
back in its rightful place. Yes, folks, James Bond is back - and how. The
customary pre-title sequence is a stunner, and quite violent. There's no messing around. A lot of people die in this film.
again, Sam Mendes has brought us a film full of excitement, tension and
sexuality that retains a freshness and
vitality in a similar vein to what he did with Skyfall. Although there are many spectacular chases and set pieces
(the stunts and SFX by regulars Gary Powell and Chris Corbould, are well up to
standard), Mendes maintains a sense of reality and plausibility, even though
there are visual 'nods' to the films of the past. It's clever, but not pastiche.
There is just the right level of humour, too, which Craig handles really well.
Refreshingly, I didn't once notice any over-the-top references to products
casting is impeccable, and Craig, as usual, is superb. This really is his film. Christoph Waltz makes for a
perfect villain - a complex character who is equal (or even superior) to Bond,
which is as it should always be. As for the "Bond Ladies", Mendes has
triumphed once more. Monica Bellucci, who is mature in her years, is (for me)
the sexiest woman to ever grace Bond's on-screen adventures. Then again, I've
always been a sucker for a woman in a basque and stockings and suspenders. Sadly,
her part is woefully short. Lea Seydoux
is equally engaging and attractive, but not in a drop-dead-gorgeous superficial
way that we have come to expect from earlier Bond films, and thankfully her
character is integral to the plot, and not just eye candy. David Bautista, who
I assume the producers wanted on board as an Oddjob-type villain, does an
admirable job, and has a sinister and mean on-screen presence, although his
role was totally unnecessary. Likewise, all the ballyhoo surrounding Bond's
Aston Martin DB10 was wasted on me. The chase through the streets of Rome is not one of the
series best by any measure. Mi6 'regulars' Ralph Fiennes, Ben Wishaw and
Naomie Harris really come to the fore in this film, but I cannot comment
further without revealing plot details!
technical front, the cinematography by Hoyte van Hoyetema (shot on 35mm film,
not digital) is as good as Roger
Deakins' efforts on Skyfall, and the
vistas of Rome, Mexico, Austria and Morocco looking stunning. London also plays a major 'role' in
the exciting finale where Bond races against the clock whilst dealing with
ghosts from the past. Brilliant! Editor
Lee Smith (director Chris Nolan's regular cutter) has creatively paced the film
, and easily justifies the film's 148 minutes running time, which seemed to fly
the music. Sam Mendes' composer of choice, Thomas Newman, returns. Whilst his
score for Skyfall was excellent, he
didn't 'arrange' enough subtle cues of the James Bond theme throughout. This
time around he rectifies that, with a superb score that also revisits Skyfall as well as using an instrumental
rendition of Sam Smith's title song 'The Writing's on the Wall' .
you have it. Mendes' second Bond film, the 24th in the series, is top-notch
entertainment that will thrill audiences around the world - and also please the
'die hard' OO7 buffs who are so critical of their favourite secret agent's
on-screen antics. Oh, and there is a
'money shot' at the end of the film which totally threw me. I'm still reeling.
No James Bond fan will want to pass up adding "Bond By Design" to their collection of coffee table books about Agent 007. Written by Meg Simmonds, the archivist for Eon Productions, this volume presents a wealth of ultra rare original art concepts, story boards, costume designs and much more ranging from "Dr. No" through the new film "SPECTRE".
Here is the official description:
"Bond By Design: The Art of the James Bond
Films gives an exclusive tour of EON Productions’ James Bond archives and is
available to buy from October 1. The book includes set, storyboard, vehicle,
gadget and costume designs by legendary designers including Sir Ken Adam, Syd
Cain, Peter Murton, Peter Lamont, Allan Cameron and Dennis Gassner.
Written by Meg Simmonds, EON Productions’ Archive
Director, Bond By Design reveals each movie’s design approach as well as the
stories behind individual items. From DR. NO (1962) through to Spectre (2015),
discover the craft behind some of the most iconic Bond sets, including
Stromberg’s Atlantis base in THE SPY WHO LOVED ME (1977) and Blofeld’s Volcano
Lair in YOU ONLY LIVE TWICE (1967)."
In a controversial interview with Time Out London, Daniel Craig talks in earthy terms at length about the challenges and rewards of playing James Bond and discusses the forthcoming 007 epic "SPECTRE". What's raised eyebrows is his comments about not wanting to play James Bond again. Craig says he'd rather slash his wrists than take on the role of 007, even as he expresses concern that whoever plays the role in the future ensures that the quality of the franchise is preserved. In that respect, Craig's comments are a bit ambiguous. He does leave the door open to considering another Bond film but says he would only do it for the money. Craig's stance is a bit surprising. While the Bond franchise has seen its share of troubles between the lead actors and the producers over the decades, Craig is said to have a warm and mutually respectful relationship with current producers Barbara Broccoli and Michael G. Wilson, both of whom plucked him from relative oblivion (he certainly wasn't a household name) and, against all conventional wisdom, hired him to replace the enormously successful Pierce Brosnan. If Craig's comments distancing himself from the role of Bond sound callous and ungrateful at first blush, he does make clear that he is very proud of the work he's done with his colleagues on the series and cares deeply that the franchise will only continue to improve over time. Bond fans are already in a panic over the notion that Craig may quit the role. They might want to pause before drowning their sorrows in a sea of Vodka Martinis and recall that Sean Connery quit the part twice and it appeared as though even amiable Roger Moore threatened to leave the role on a couple of occasions. (Other actors were even screen-tested for the part). (To read the interview click here.)
Now, here's the kicker that makes us wonder when exactly the Time Out interview was conducted. In the Mail on Sunday's 27 September edition, there was a special supplemental section (obviously done with Eon Productions' blessing) that interviews Craig. In the article, he confirms that he has indeed committed to at least one more film after "SPECTRE"- and reiterates that he considers it an honor to play the role. In fact he states: "I'll keep going as long as I'm physically able. I'm contracted for one more - but I'm not going to make predictions." The article also indicates that Craig is being paid a Goldfinger-sized fortune for his performances, having earned £17 million for "Skyfall" and is expected to earn at least that much for the next two films, should he choose to star in them. So the incentives to do at least one more Bond film are very strong for Craig. How two interviews can feature such opposite viewpoints from him remains a mystery unless he has a double out there somewhere...perhaps a real life case of "The Spy With My Face".
DK publishers will release "Blood, Sweat and Bond", a behind the scenes compilation of remarkable photos from the forthcoming 007 flick "SPECTRE" starring Daniel Craig. Click here to pre-order from Amazon.
Madame Tussaud's Wax Museum in London will display likenesses of all six James Bond actors: Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig this October to coincide with the opening of the new 007 film "SPECTRE". The display opens to the public on 17 October for a limited time. For more click here.
There must be as many incarnations of toy James Bond Aston Martin DB5 cars as there are grains of sand in the Sahara Desert. For die-hard collectors, however, the world is not enough when it comes amassing 007 memorabilia so click here if you want to order (from Amazon) the Hot Wheels 1/64 scale "Goldfinger" Aston Martin DB5. It's rather small, of course, so we suggest using flea circus performers for the ejector seat.
The following is a press release from Sony and Eon Productions:
LONDON, September 8, 2015 – Albert R. Broccoli’s EON
Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment today
confirmed that Sam Smith has recorded “Writing’s On The Wall,” the theme song
to SPECTRE, the 24th James Bond adventure. SPECTRE will be
released in the UK on October 26 and in the US on November 6. The song,
released by Capitol Records, will debut and be available to purchase and stream
on September 25.
Multi-platinum selling artist Sam Smith has co-written
the title song, “Writing’s On The Wall,” with fellow GRAMMY® Award winner Jimmy
Napes. It is the first James Bond theme song recorded by a British male
solo artist since 1965. Smith’s debut album In The Lonely Hour launched
at No. 1 in the UK and bowed in at No. 2 in the US, and has since earned five
No.1 UK singles, four GRAMMY® Awards, three Brit Awards, six MOBO Awards, Q and
Commenting on the announcement, Michael G. Wilson and
Barbara Broccoli, the producers of SPECTRE, said, “Sam and Jimmy have written
the most inspirational song for Spectre and with Sam’s extraordinary
vocal performance, ‘Writing’s On The Wall’ will surely be considered one of the
greatest Bond songs of all time.”
Smith said: “This is one of the highlights of my
career. I am honoured to finally announce that I will be singing the next Bond
theme song. I am so excited to be a part of this iconic British legacy and join
an incredible line up of some of my biggest musical inspirations. I hope
you all enjoy the song as much as I enjoyed making it.”
The 23 previous James Bond theme songs make up some of
the most memorable movie music of all time. The previous Bond theme song,
“Skyfall,” was performed by Adele, and was honored with the Academy Award® and
Golden Globe Award for Best Original Song, the Brit Award for British Single of
the Year, and the Grammy Award for Best Song Written for Visual Media.
A cryptic message from the past sends James Bond
(Daniel Craig) on a rogue mission to Mexico City and eventually Rome, where he
meets Lucia Sciarra (Monica Bellucci), the beautiful and forbidden widow of an
infamous criminal. Bond infiltrates a secret meeting and uncovers the
existence of the sinister organisation known as SPECTRE.
Meanwhile back in London, Max Denbigh (Andrew Scott),
the new head of the Centre for National Security, questions Bond’s actions and
challenges the relevance of MI6, led by M (Ralph Fiennes). Bond covertly
enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out
Madeleine Swann (Léa Seydoux), the daughter of his old nemesis Mr White (Jesper
Christensen), who may hold the clue to untangling the web of SPECTRE. As the
daughter of an assassin, she understands Bond in a way most others cannot.
As Bond ventures towards the heart of SPECTRE, he
learns of a chilling connection between himself and the enemy he seeks, played
by Christoph Waltz.
Sam Mendes returns to direct SPECTRE, with Daniel
Craig reprising his role as 007 for the fourth time. SPECTRE is
produced by Michael G. Wilson and Barbara Broccoli. The screenplay is by
John Logan and Neal Purvis & Robert Wade and Jez Butterworth, with a story
by John Logan and Neal Purvis & Robert Wade.
SPECTRE is set for release in the UK on October
26, 2015, and in the US on November 6, 2015.
At 07:00 UK time on Monday 7th September, the box-office for
SPECTRE will open across the UK and Ireland, giving cinema audiences the
opportunity to book their tickets in advance to see Albert R. Broccoli’s EON
Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment’s
first time ever, the film will open to the public on the same night as the
World Premiere in London, giving audiences the opportunity to be the first in
the world to see the hugely-anticipated 24th film in the James Bond franchise.
the World Premiere and release in the UK and Ireland on 26th October, SPECTRE
will begin its rollout in territories around the world. The film will release
in the US on November 6, 2015.
Here is some behind the scenes footage of Sean Connery and Jill St. John with director Guy Hamilton rehearsing for the final sequence of "Diamonds Are Forever" that pitted them against actors Bruce Glover and Putter Smith.
Sony and Eon Productions have released the new trailer for the forthcoming James Bond thriller "SPECTRE" starring Daniel Craig. The film opens in the UK on 26 October with worldwide release following on 6 November. Click here to view.
Sony and Eon Productions have officially announced that the world premiere of the new James Bond film SPECTRE will take place in London on 26 October. The film will also open to the public that day throughout the UK and Ireland. These territories will get a jump on the international release date of 6 November, which covers other countries including the United States.
Producers Albert R. Broccoli (left) and Harry Saltzman with author Ian Fleming and star Sean Connery in a publicity photo taken before production started on the first 007 film "Dr. No" in 1962
BY LEE PFEIFFER
Eon Productions has stated on the company's web site and Facebook page that they have not granted rights for a James Bond musical production. Earlier, Merry Saltzman, one of the daughters of the late 007 producer Harry Saltzman, announced that she was staging a musical production based on the Bond films. In response to the Eon statement, Saltzman indicated that she has not sought rights from Eon nor does she believe she needs them since her stage production would fall into the category of a parody. Eon has been very protective of the Bond brand over the decades and it remains to be seen how this will be resolved. The situation does open some old wounds that many thought were long closed. Harry Saltzman teamed with fellow producer Albert R. Broccoli to form Eon Productions and produce the James Bond films. It was an uneasy relationship from day one but the two partners rode the wave of the series' phenomenal success. However, a series of bad financial investments led Harry to sell his 50% share of the franchise in the early 1970s. Instead of offering his share to Broccoli, he chose to sell it to United Artists, thus making the studio Broccoli's new partner in the franchise. This led to many problems for Broccoli as studio management changed in the 1980s and left him at odds with the new regime. In protest, Broccoli did not make a Bond film from the release of "Licence to Kill" 1989 until the revival of the series with "GoldenEye" in 1995. Despite hard feelings that ran for many years, Broccoli and Saltzman did have a reconciliation of sorts in 1981 when Broccoli invited Saltzman to the London premiere of "For Your Eyes Only". They kept in touch occasionally until Saltzman's death in 1994.
Since Broccoli's death in 1996, Eon has been run by Broccoli's daughter Barbara and her step-brother Michael G. Wilson. The pair has succeeded in reinventing the franchise, first with the casting of Pierce Brosnan as Bond and more recently with Daniel Craig in the role. The latest Bond film, "Skyfall" was released in 2012 and is the top-grossing British film in history. As of this writing, Merry Saltzman has indicated she intends to continue development of the Bond musical. It remains to be seen whether her plans will ultimately bear any fruit.
Since he made his one and only on screen appearance as James Bond in "On Her Majesty's Secret Service" in 1969, George Lazenby has discussed his dramatic experiences before and behind the cameras many times. As any Bond fan knows, Lazenby was plucked from obscurity to replace Sean Connery, who had quit the 007 series after "You Only Live Twice" in 1967. Lazenby was a well-known Australian model but he had no acting experience. Midway through the film, he told producers Cubby Broccoli and Harry Saltzman that he had decided to quit the role after this one film. Not even he temptation of a mega salary could convince Lazenby to sign on for more films. He became convinced Bond could not thrive into the 1970s. Ultimately, Sean Connery returned to the role for "Diamonds Are Forever" and would be followed by Roger Moore's long run as 007. Lazenby's acting career never took off but over the passage of time, he has had the satisfaction of seeing his movie regarded as one of the best by both enlightened critics and fans. He has discussed his trials and tribulations on the film set many times, acknowledging that he was sometimes egotistical and demanding, but also denying many other rumors regarding his behavior. In this rare 1970 interview, Lazenby discusses the controversies while the movie itself was still in general release. The uncredited interview is refreshingly intelligent and Lazenby is candid and honest about his opinions. He admits his suggestions for making Bond more contemporary were justifiably ignored but also denies reports that he did not get on well with the crew. He also says that his refusal to cut his hair and shave his beard cost him a studio-paid tour of America, so he paid for his own publicity tour. The documentary is one of the few that acknowledges that the film was a major boxoffice success, despite inaccurate initial reports that it was a bomb. Given the fact that he is critical of aspects of the production, it's rather surprising that Eon Productions allocated so much footage for use in this interview.
Cinema Retro has received the following press release:'
History Press is delighted to announce that it will be publishing Some
Kind of Hero this October.
For over 50 years, Albert R.
Broccoli’s Eon Productions has navigated the ups and downs of the volatile
British film industry, enduring both critical wrath and acclaim in equal
measure for its now legendary James Bond series. Latterly, this family-run
business has been crowned with box office gold and recognised by motion picture
academies around the world. However, it has not always been plain sailing.
Changing tax regimes forced 007 to
relocate to France and Mexico; changing fashions and politics led to box office
disappointments; and changing studio regimes and business disputes all but
killed the franchise. And the rise of competing action heroes has constantly
questioned Bond’s place in popular culture. But against all odds the filmmakers
continue to wring new life from the series, and 2012’s Skyfall saw both huge critical and commercial success, crowning 007
as the undisputed king of the action genre.
by Bond scholars Matthew Field and Ajay Chowdhury, Some Kind of Hero is
based on over
100 new interviews
with the stars, directors, writers, filmmakers, studio executives and the men
who played James Bond. The authors have also drawn upon archives of rare and
unpublished material from around the world.
Some Kind of Hero is the culmination of many years researching and
interviewing the talented individuals
responsible for bringing the James Bond films to the screen. Authors Field and
Chowdhury commented: ‘As we delved deeper into the Bond mythos, we realised
there were many untold tales from many unsung heroes who played key creative
roles in the series. We hope that even the most devoted Bond fans will find
fascinating facets to the franchise in these pages. We have gained a new
appreciation of not only how the series was started but how that Rolls-Royce
standard has been maintained. When SPECTRE
is released later this year, we hope readers will gain some insight in yet
another chapter in the remarkable story of the James Bond films.’
ABOUT THE AUTHORS
MATTHEW FIELD began his writing
career with The Making of The Italian Job.
He has since co-produced a feature length documentary about the film for
Paramount Pictures. In 2008 he penned the autobiography of Oscar-winning film
producer Michael Deeley, Blade Runners,
Deer Hunters and Blowing the Bloody Doors Off! Field’s James Bond
journalism has appeared in Mi6
Confidential and Kiss Kiss Bang Bang.
He is a regular contributor to Cinema
Retro. In 2012, he served as editorial consultant on MGM’s feature length
documentary, Everything or Nothing.
Matthew currently works for a leading film-marketing agency. His most recent
feature film credits include Stephen Frears’ The Program, Michael Winterbottom’s The Face of an Angel and the Australian period drama, The Dressmaker.
CHOWDHURY was born in London and read Law at university there
and in The Netherlands. He has since provided legal advice on various motion
picture, music, publishing, television and theatrical projects. He was the
associate producer on two feature films, Lost
Dogs and Flirting with Flamenco. In
2012, he penned the screenplay to the multi-award winning, Olympic-themed
short, A Human Race. Ajay is the
spokesperson for The James Bond International Fan Club, established in 1979. He
edited their James Bond journal, Kiss
Kiss Bang Bang, and for the last two decades has contributed to numerous
books and magazines on the James Bond legacy. He is regularly called upon by
worldwide media to commentate on all things 007.
CLICK HERE TO PRE-ORDER FROM AMAZON UK (NOT AVAILABLE FOR PRE-ORDER IN THE U.S. YET)
Here's a blast from the past: Sean Connery as the "mystery guest" on a 1965 episode of "What's My Line?". The clip recalls an era when those who appeared on television tended to be sophisticated, well-mannered and polite. The celebrity participants in the game always wore tuxedos and fine dresses as they played to win token amounts of money that never exceeded $50. The fun was waiting until the end of the show to see if the blindfolded panelists could guess the mystery guest, who would inevitably disguise his/her voice. Here, the "Great Scot" shows a bit of humor as he feigns a high-pitched female voice. Later he seems rather shy engaging in actual conversation with host John Daly. He briefly mentions that he is in New York to film "A Fine Madness" and shows some enthusiasm for his about-to-be-released prison classic "The Hill". He noticeably does not mention the forthcoming release of his fourth James Bond blockbuster "Thunderball", which opened in December 1965. By this point, it's apparent that the bloom was off the 007 rose for Connery.
Sony and Eon Productions have released some behind the scenes footage dedicated to the filming of a high speed car chase through the streets of Rome for the forthcoming James Bond film "SPECTRE" starring Daniel Craig.
by Michele Brittany (Published by McFarland & Company, $38), 278 Pages,
Softcover, ISBN: 9780786477937
15 years ago, when I was unsuccessfully hawking a manuscript for a proposed
James Bond book around publishers, I was informed categorically in one
rejection letter that "There are already far too many Bond books jostling
for attention in the marketplace". This may or may not have been the case,
but it struck me even then as nonsense and has never, as far as I'm aware, been
a deterrent to any publisher to seize an opportunity to jump on the
Bondwagon. (I'd rather have been told my work simply wasn't any good). In the
intervening years there have been so
many books bearing the James Bond tag that even die-hard aficionados must have
had a job keeping up.
Bond and Popular Culture" (an assembly of "Essays on the Influence of
the Fictional Superspy") will find its keenest audience among those who
simply must read everything related
to their iconic hero. For it is less about Bond himself, rather – as the
subtitle suggests – it’s focus falls upon 007’s cultural influence and those who
followed in his wake. Also, naturally enough, his antecedents. Following a
foreword (which left me eager to locate James
Batman, a 1960s production from the Philippines which merged Bond and
Batman), the collection of essays of varying length are divided into five
categories: Film, TV, Literature, Lifestyle and Reinterpretation. A wide range
of topics are discussed, from Bollywood and the Japanese Nakano films to The Man from
U.N.C.L.E and Doctor Who, with a
fistful of others in between, all appended with an extensive array of footnotes
and bibliographic detail.
you might anticipate from a work such as this, some of the theses it comprises
– though unquestionably well researched and informative – can be a little hard
going. And, also perhaps a tad predictably, one or two are of a nature that
(unintentionally) sap the fun out of a subject which, let's be honest, really
shouldn't be taken too seriously.
the 24th 007 screen adventure SPECTRE looming on the horizon, the
months ahead will be hard on the wallets of serious Bond buffs. Not least of
all in the book department. At a princely $38, this non-illustrated, comparatively
slender offering is unlikely to top the shopping lists of many. But for those
who do choose to invest, it’s be best filed on your bookshelf
alongside similarly highfalutin tomes such as "Bond and Beyond: The
Political Career of a Popular Hero".
Eon Productions has confirmed that Daniel Craig has undergone knee surgery for an injury he suffered during a fight sequence on the latest James Bond production, "SPECTRE". Eon said the surgery was "minor" and is not anticipated to affect filming. Craig is anticipated to resume shooting the movie on April 22 at Pinewood Studios, the series' traditional "home" outside of London. The film is shaping up to be the most expensive and ambitious entry in the long-running series. For more click here.
In SPECTRE, a cryptic message from Bond’s past sends him on
a trail to uncover a sinister organization. While M battles political forces to
keep the secret service alive, Bond peels back the layers of deceit to reveal
the terrible truth behind SPECTRE. Sam Mendes returns to direct SPECTRE,
with Daniel Craig reprising his role as 007 for the fourth time. SPECTRE
is produced by Michael G. Wilson and Barbara Broccoli, from a script by John
Logan and Neal Purvis & Robert Wade.
SPECTRE follows the release of SKYFALL, the biggest Bond
film of all time, which took in $1.1 billion worldwide. SPECTRE is
set for global release on November 6, 2015.
his recent review of the Nitehawk Cinema’s splendid and rare 35mm showing of
the James Bond film, “A View to a Kill,” our intrepid correspondent Hank
Reineke was skeptical of a claim made that night that the movie played on its
first-run at Manhattan’s notoriously déclassé (circa 1985) Selwyn Theater on
West 42nd Street. According to a newspaper display ad from May
24, 1985, and held in his own files, Reineke determined that the only midtown
Manhattan theaters showing “A View to a Kill” on its original release were the
Loews Astor Plaza on West 44th, the Loews 84th Street Six, the Loews
New York Twin, the Loews 34th Street Showplace, and the Orpheum on
86th and 3rd Avenue.
Reineke’s metaphorical throwing down of the gauntlet (however accidental!), Joe
Berger, one of the presenters of the Nitehawk’s wonderful film series, “The
Deuce,” was quick to contact Cinema Retro to defend their claim. Berger,
in a friendly but firm manner – provided us with a scan from the Village
Voice newspaper from that same week in 1985. The listing leaves
little doubt the fourteenth James Bond did, in fact, play the Selwyn, as one part of a twin bill with “The House
Where Evil Dwells.” As Berger would go on to explain, the row of
aging theaters comprising “The Deuce,” such as the “Selwyn, Lyric, Harris, and
Liberty, VERY FREQUENTLY premiered A-list films on their regular release dates,
with a second, [and] sometimes third film as part of the cheaper ticket
price.” Berger explained that multi-bill attractions would, naturally,
bring in “a smaller box office gross” since all profits were now “split amongst
two or three titles.” But such campaigns were studio “loss leaders” to
some degree as distributors were aware a new film's presence on the Deuce would
“attract a younger, more 'inner-city' crowd.” The one stipulation for the
bargain, according to Berger, was “that the theatre COULD NOT advertise” their
showing through the usual marketing methods- such as a display in a print
The cinematic equivalent of the "smoking gun" tape that brought down President Richard Nixon: the vintage newspaper listing that proves "A View to a Kill" did indeed play on 42nd Street during its initial run.
for Reineke’s contention that the film played “two blocks north” of the Selwyn
at the Loews Astor, Berger went on to explain that the film’s distributor would
only want the Astor (and similar high-end cinema establishments) to be
prominently advertised as these venues could charge a “larger ticket price” for
“a single feature.” This, naturally, would result in greater
profits for all involved.
all sounds right to us. As a mea culpa, we intended to fire Reineke,
until we realized that he has been donating his services to us on an unpaid
basis. We were then going to sentence him to a terrible fate: 24 hours of
around the clock screenings of “The Man With the Golden Gun”- until we
remembered he likes the damned film. We’ve settled on making him watch Jerry
Lewis in “Which Way to the Front?” three times in succession (unless the
Supreme Court rules this is truly “cruel and unusual punishment.”)- Lee Pfeiffer
Cinema Retro has received the following press release:
MI6 Confidential, the
full-colour magazine celebrating theworldof James Bond 007,
returns with its twenty-ninthissue.
Ask anyone with a passing interest in Bond and they'll
recall the terrorist organisationSPECTREpulling the strings on
some of 007’s most dangerous missions; but not because they have beenaregular fixture of recent times. However, the organisation
will be back (and just possiblyitsubiquitous leader,
Blofeld) in the 24th screen adventure. This issue pays tribute to the legacythatwent before it. Packed
with trivia, and historical data, we recount the rise of Blofeld from thegermof an idea from author Ian Fleming and producer Kevin
McClory to his most recentfilmicappearanceinForYourEyesOnly.
Eon Productions and Sony have released the official teaser poster for the new James Bond film "SPECTRE" starring Daniel Craig, currently filming and scheduled to open on 23 October in the UK and 6 November everywhere else.
This was my first visit to the triplex located at 136
Metropolitan Avenue. The cinema is only
a couple of blocks stroll from the Bedford Avenue L subway station and sits mere
minutes from Manhattan’s Lower East Side. As the movie I hoped to catch Thursday night was a special “one night
only, one showing only” screening to begin at 9:30 P.M., I hesitated before buying
my advance ticket and traveling into the city. I live in central New Jersey; far from where Manhattan’s southern end
and Brooklyn meet. I’m 53 years old now and
a workday late night out is getting ever more difficult to recover from. But, in the end, I simply couldn’t pass on this
opportunity to catch the Nitehawk Cinema’s wonderfully wrought presentation of
the fourteenth James Bond film “A View to a Kill” that was released in 1985. Though 007 film retrospectives
aren’t necessarily rare to repertory theater programming, too often fans are offered
only such early Sean Connery-era classics as “Dr. No” and “Goldfinger” as
exemplars. Here was a rare chance to re-experience
- in glorious 35mm and nearly three decades after its original release - Roger
Moore’s rarely theatrically re-screened sign-off as James Bond.
It was the right decision. The Nitehawk is a bountiful oasis for moviegoers
and film enthusiasts. The walls of the
lobby are adorned with both foreign and domestic movie posters and a lengthy plexi-glass
wall display of vintage old-school “big box” and clamshell case VHS tapes circa
the late 1970s and early 1980s. The
cinema itself offers the usual – and sometimes the more unusual - highbrow
art-house films, but there’s also great enthusiasm among programmers for pure
popcorn movies: the weird, the
exploitative, and the guiltiest of celluloid pleasures. Offering a fully stocked bar complete with an
impressive array of draft and bottled beers and other alcoholic (and
non-alcoholic) refreshments, a great selection of hot comfort foods, and the
most delicious hot buttered popcorn I’ve enjoyed in some time (served in a deep
stainless steel bowl), the movie-going experience at the Nitehawk is an
absolute delight. The terraced seating
and plush seats and aisles with ample leg room and courteous attendants are a
refreshing bonus. Best of all, the fans
who gathered to watch Roger Moore stroll and fire one final time into the trademark
gun barrel were simply my kind of moviegoers. There was no one chatting away on cell phones
or sending glowing texts about nothing while the feature was in progress.
The Bond film, which played out before a sold-out and
appreciative audience, was part of the cinema’s on-going series “The Deuce.” Upcoming screenings in the series include “Fight
for Your Life” (1977) and “Wolfen” (1981). “The Deuce,” for the uninitiated, was an
affectionate pop-cartographic nickname for the nostalgically remembered stretch
of aging movie palaces that once populated the area of 42nd Street
between 6th and 8th Avenues. By the early 1970s, this great neighborhood and
glorious entertainment strip became the playground of prostitutes and drug
addicts. The once magnificent theaters were
relegated to playing before houses half-filled with adventurous teenagers,
junkies, the homeless and mental cases.
To some degree, “A View to a Kill” was an odd choice
for inclusion in the series. Any James
Bond, even one of the series less remarkable ones as this one, was, by no
means, atypical of the usual 42nd Street movie fare of the
time. The Times Square theaters more
usually offered 24/7 programming of the cheapest Kung-Fu films from Hong Kong,
the sleaziest and most lurid of low-budget horrors, and the world renowned pornographic
all-nighters. To paraphrase one of the
film’s presenters this evening, “Some people have described 42nd
street as the place where movies went to die. We think of 42nd street as the only place where many of these
movies could have lived.”
In their opening presentation to the film, organizers
of the screening spun a somewhat dubious tale of “A View to a Kill” having played
as the top-bill of a double-feature program at the notorious Selwyn Theater. The Selwyn, once one of the brightest
fixtures on the strip had, in its final years, fallen prey to disrepair and
neglect. It eventually morphed
unpleasantly into a legendary dank and ghoulish Grind-house with sordid
clientele. I can’t say for certain
whether or not this classy James Bond film actually played a fleapit like the late-stage
Selwyn, but if true it would have mostly certainly been on a subsequent run. My own clippings book reveal that upon its initial
U.S. issue on May 24, 1985, this particular 007 opus had opened two blocks
north of the Selwyn at the more elegant Loews Astor on W. 44th
Though Moore’s final outing as James Bond is, arguably,
the least successful of his tenure, it remains a very entertaining programmer
throughout. The 35mm print screened was
in fine condition, the color palette still mostly bright but with just enough
black scratches to remind you that you were enjoying a real film as originally
presented. Though few James Bond
zealots would allow their true feelings to show, Bond snow “surfing” through a
phalanx of Russian assassins as the cover version of the Beach Boys’
“California Girls” played on the soundtrack brought about a murmur of amused
giggles and cheers. Time and history
have allowed Moore’s lighter-turn as Bond to enjoy a welcome reevaluation. It was somehow liberating for the devoted 007
fan, for two hours time at least, to put aside the grim and solemn tone of the recent
Craig Bonds and actually have some fun and smile during a James Bond movie
Today is "Red Nose Day" in England, wherein celebrities, sports stars and the public raise money for charity. The BBC have a show called "Comic Relief" on TV tonight, which comes live from The London Palladium from 7 PM through 2 AM. Filled with comedy sketches, music acts, etc, one of the highlights will be a special James Bond segment filmed at Pinewood starring Daniel Craig - and Sir Roger Moore!
Thanks to Cinema Retro contributor Hank Reineke, who provided this scan of the 1972 James Bond TRIPLE feature that consisted of "Dr. No", "From Russia With Love" and "Goldfinger". Those were the days....This ad is from the now-deceased State Theatre in Journal Square, Jersey City, NJ. Below is the U.S. one sheet poster made for the triple feature.
Jourdan as the Bond villain Kamal Kahn in "Octopussy".
Louis Jourdan, the talented and iconic star of French cinema, has passed away at age 93. Among his major English-language films that made him an international star were Hitchcock's "The Paradine Case", the classic musical "Gigi", "Three Coins in the Fountain", "The Swan", "The V.I.P.S" and "Year of the Comet". In 1983, Jourdan also entered pop culture history by playing the lead villain opposite Roger Moore in the James Bond film "Octopussy". For more click here. For more about Jourdan and "Octopussy", visit the MI6 Community web site here.
Eon Productions has released the first tantalizing glimpses from the production of "SPECTRE", showing Daniel Craig in action in the snow-capped mountains of Austria. A brief behind the scenes film report accompanies this first officially released photo of Craig as 007. In the clip, cast and crew members discuss the filming and Craig is shown briefly at the very end as Bond shoots an adversary dead. It's hard to draw any definitive conclusion from these glimpses except that Craig looks exceptionally cool (in both senses of the word) and that, at least for us long-time veterans of all things Bondian, the atmosphere inevitably brings back welcome memories of the 1969 classic "On Her Majesty's Secret Service".
USA Today culled this frame of Daniel Craig from the behind-the-scenes footage.
Daniel Craig (James Bond), Léa Seydoux (Madeleine Swann) and Dave Bautista (Hinx) were in the Austrian ski resort of Sölden for SPECTRE. Other Austrian locations for SPECTRE include Obertilliach and Lake Altaussee.
It was in 1987 that the "new" James Bond, Timothy Dalton, made his debut as 007 in "The Living Daylights". It was a troubled production to bring to the screen, given the fact that Pierce Brosnan had been signed to play the role of Bond only to be thwarted by a contractual clause relating to his NBC TV series "Remington Steele". Dalton was the fourth actor to play 007 on the big screen, if you don't count David Niven in the 1967 spoof version of "Casino Royale". He followed in the paths of Sean Connery, George Lazenby and Roger Moore. Dalton is generally credited for bringing Bond back to earth in terms of downplaying the overt comedy that had characterized the series since Connery's final Bond film for Eon Production, "Diamonds Are Forever" in 1971. The good folks at the MI6 web site provide a wealth of interesting trivia relating to all things "Daylights". Click here to read- and while you're at it, subscribe to their superb magazine.
The Daily Mail has a series of photos showing Daniel Craig on the Thames en route to the real MI6 HQ to film sequences for the new 007 film "Spectre". Craig appears to be having a ball riding a high speed vessel in the company of his co-star Rory Kinnear, who plays the role of fellow agent Bill Tanner.
The article also reveals that, in the wake of the devastating Sony hack scandal, the script is being re-written even as filming is underway, which is not a situation most filmmakers want to contend with. However, Sony and Eon Productions confirmed that an earlier draft of the script that gave away key plot spoilers has been leaked to the web. To ensure that moviegoers don't have the experience of seeing the new film ruined in advance of its premiere next November, the producers have brought in other writers, including "Edge of Tomorrow" scribe Jez Butterworth, to re-write key portions of the story including the finale. The script is also being rewritten by long-time Bond co-writers Neal Purvis and Rob Wade. Daniel Craig has previously said that the script that was in place prior to the hack was better than the one for his 2012 blockbuster "Skyfall", which grossed over $1 billion internationally.
Eon Productions and Sony have confirmed that the recent hack attack against the movie studio has resulted in the cyber theft of the script for the new James Bond film "Spectre" that just began filming. The big budget production has been kept top secret and pains had been taken to keep key plot points from the public. It is known from the title that Bond's arch nemesis organization SPECTRE will fit into the story line and it is has been reported through hacked information that the character Blofeld is to figure into the plot in some way. However, the theft of the actual script could have devastating consequences for the marketing of the film. The producers clearly had anticipated keeping key information close to the vest until the film is released next November 6. Aside from reminding the thieves that the script is protected under British copyright law, there isn't much they can do to prevent it from being published on the web. Both Eon and Sony deny rumors that the filming has been put into hiatus. This is only the latest problem for Sony, which has been the focus of an unprecedented hack that has resulted in embarrassing and confidential information going viral. It is suspected that the North Korean government is behind the action, in retaliation for a new Sony comedy that centers on a plot to kill the nation's dictator Kim Jong Un. For more click here.
The new James Bond film, "Spectre", boasts some exotic locations ranging from Morocco to Mexico to Austria. However, Variety reports that a sizable chunk of the film's rumored $300 million budget will be spent in Rome, where tax incentives have brought in many major studio productions lately. The Bond flick will drop over $62 million to film some high profile chase sequences in Rome, including a spectacular car crash and a scene in which Bond parachutes from a helicopter onto the ancient Ponte Sisto bridge. (No word on whether the Queen will be joining him on this parachute drop, as she did at the Olympics in 2012!) For more click here.
Cinema Retro's own Gareth Owen is interviewed on Bloomberg TV regarding the reasons that Pinewood Studios has remained James Bond's 'home" for more than 50 years. The Broccoli family have always felt most comfortable at Pinewood and they maintain permanent offices there. However, there is an economic incentive to film there, as well. After decades of losing major film productions due to punitive tax measures, the UK is now attracting blockbuster franchises such as Star Wars, Batman and The Avengers due to lucrative incentives that allow producers to reclaim as much as 25% of their British expenditures. The new Bond film SPECTRE is filming at Pinewood and other locations around the world.
(Read Gareth Owen's "Pinewood Past" column in every issue of Cinema Retro!)
Here is the brilliant new teaser campaign for the James Bond film "SPECTRE". What makes it brilliant? Any Bond fan would know...the bullet hole references the final, haunting frame of the 1969 Bond classic "On Her Majesty's Secret Service" starring George Lazenby. In those final moments, Bond's beloved new bride Tracy (Diana Rigg) was murdered by SPECTRE arch villain Ernst Stavro Blofeld and his henchwoman Irma Bunt. The fact that the franchise is reaching back into its early days in terms of this reference bodes well for the new film. Of course, it could be coincidental that the logo mirrors the final image from "OHMSS", but- given the title- it seems intentional. We shall see... Regardless, we love the fact that the SPECTRE octopus symbol is woven into the logo...
WATCH REPLAY OF THE BOND PRESS ANNOUNCEMENT AT PINEWOOD STUDIOS
UK, December 4, 2014 – 007 Soundstage, Pinewood Studios, London. James Bond
Producers, Michael G. Wilson and Barbara Broccoli today released the title of
the 24th James Bond adventure, SPECTRE. The film, from Albert R. Broccoli’s EON
Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, is
directed by Sam Mendes and stars Daniel Craig, who returns for his fourth film
as Ian Fleming’s James Bond 007. SPECTRE begins principal photography on
Monday, December 8, and is set for global release on November 6, 2015.
with Daniel Craig, Mendes presented the returning cast, Ralph Fiennes, Naomie
Harris, Ben Whishaw and Rory Kinnear as well as introducing Christoph Waltz,
Léa Seydoux, Dave Bautista, Monica Bellucci and Andrew Scott. Mendes also
revealed Bond’s sleek new Aston Martin, the DB10, created exclusively for
cryptic message from Bond’s past sends him on a trail to uncover a sinister
organisation. While M battles political forces to keep the secret service
alive, Bond peels back the layers of deceit to reveal the terrible truth behind
007 production will be based at Pinewood Studios, and on location in London,
Mexico City, Rome and Tangier and Erfoud, in Morocco. Bond will return to the
snow once again, this time in Sölden, along with other Austrian locations,
Obertilliach, and Lake Altaussee.
on the announcement, Wilson and Broccoli said, “We’re excited to announce
Daniel’s fourth installment in the series and thrilled that Sam has taken on
the challenge of following on the success of SKYFALL with SPECTRE.”.
by John Logan and Neal Purvis & Robert Wade, Director of Photography is
Hoyte van Hoytema and Editor is Lee Smith. Production Designer, Dennis Gassner
returns along with Costume Designer, Jany Temime and Composer, Thomas Newman.
Action Specialist, Alexander Witt is the 2nd Unit Director. Stunt Coordinator
is Gary Powell, SFX Supervisor is Chris Corbould, and Visual Effects Supervisor
is Steve Begg.
the 23rd James Bond film, was a worldwide box office phenomenon, opening #1 in
70 territories around the world, taking over $1.1 billion worldwide and setting
a new all-time box office record in the UK by becoming the first film to take over