The007Dossier.com Presents: All 40 pages of the 1979 Collector's Edition of the official Moonraker magazine. Learn all about the exciting new James Bond movie. With 23 Spectacular Color Photos! Exclusive interviews with 007 Pros! Roger Moore blasts off as 007!
At first, JAMES BOND — SECRET AGENT 007 faced the awesome power and iron grip of
Next, the heartless Rosa Klebb and brutal Red Grant laid a trap for our hero, baited with a beautiful woman sent
From Russia With Love
Then a master criminal with the Midas touch set his sights on a Fort Knox robbery and it was James Bond versus
The world was the hostage, a stolen H-Bomb was the threat, and millions were tne ransom. But Bond defeated
the sinister operation
Spaceflights were being hijacked and the consumately evil Ernst Blofeld thought he had Killed 007. But Bond came back, proving
"You Only Live Twice"
Blofeld returns to taunt and haunt a love smitten Bond with a germ warfare plot. 007 defeats him, weds, loses his love, but remains
On Her Majesty's Secret Service
The planet is at the mercy of a gem-powered killer satellite controlled oy 007’s arch-enemy. Bonabeacs Blofeld for the last time in
"Diamonds Are Forever"
Voodoo, drugs and a crime syndicate collide to wage a weird war with the law. It's Bond against q a villain who n- aa __ believes in the credo
Live And Let Die
A solar cell with the power of the sun becomes the object of a million dollar assassin — a man with a solid gold bullet aimed at 007 —
“The Man With The Golden Gun"
A perfect world under the sea is visualized by a madman who cares not for the detente that allies Bona with a most beautiful Russian agent who called 007
The Spy Who Loved Me
NOW: Secret Agent JAMES BOND’S most exciting adventure!
Cast of Characters
In 1953, author Ian Fleming created super agent James Bond, the dashing but deadly British operative. Also known as 007, he’s the man with a Licence To Kill! Now, twenty-six years later, the eleventh and most spectacular of the films based on the exploits of James Bond is exploding on motion picture screens around the world: Moonraker! Like all the James Bond sagas, Moonraker has a fascinating array of characters ranging from the valiant to the villainous - with a brilliant cast of actors to bring them to life!
JAMES BOND Roger Moore is the handsome hero of the legendary television series THE SAINT, as well as twenty-two motion pictures — four of them James Bond films. Although he modestly attributes his fame as an actor to “quite a lot of luck,” his talent, continental charm, and rugged athletic ability have earned him a place as one of the cinema’a superstars. Born in Stockwell, England in 1927, Moore studied his craft at the Royal Academy of Dramatic Art. He is married to the former Luisa Mattioli and resides in the South of France. Speaking about the explosions, laser-guns, and fisticuffs that make this James Bond epic so thrilling, Moore cheerfully notes, “No doubt about it, 007 is the right number to have in these films.’
JAWS At 7’2” and 320 pounds, Richard Kiel as Jaws is one of the most imposing screen bad guys in history. But what a bad guy! The public loves the metal-molared menace, and his fan mail is second only to that of Roger Moore! Born in Detroit in 1939, Kiel held jobs as a cemetery plot salesperson, math teacher, and nightclub bouncer before settling into the colorful career of acting. Among his many credits are such television series as I SPY and GILLIGAN’S ISLAND. His motion pictures include THE LONGEST YARD, THE SILVER STREAK, and the previous James Bond extravaganza The Spy Who Loved Me.
HOLLY GOODHEAD The super C.I.A. agent of Moonraker is played by super actress Lois Chiles. A native of Alice, Texas, Ms. Chiles was a successful model before deciding to become an actress. Green-eyed and brown-haired, the 5'8” tall beauty was flying home from filming DEATH ON THE NILE when she found herself sitting next to Moonraker director Lewis Gilbert. As the actress explains, "There I was wondering what I might do next when BINGO! I’m suddenly being asked to test for Holly’s part!” Her roles include - THE GREAT GATSBY and COMA.
DRAX The sinister, world conquering Hugo Drax is played by the gifted character actor Michael Lonsdale — whose most violent hobby is painting landscapes! "After being Drax for six months," he frets, "I hope I have enough friends left who will want to have a look at my work!" Born in Paris in 1931, Lonsdale worked in radio before studying acting. He made his film debut in the 1956 French motion picture C’EST ARRIVE A ADEN, which was followed by nearly one hundred other movies, including the popular DAY OF THE JACKAL. Mr. Lonsdale currently reaides in the Left Bank apartment which he has maintained for over two decades.
CORINNE DUFOUR Drax's earthbound pilot who falls in love with irresistible James Bond—and pays with her life for betraying her nasty employer — is played by the lovely Corinne Clery. Standing 5’5”, with grey-green eyes, the actress was born in Paris in 1950. She left school at the age of eighteen to become e fashion model and, five years later, landed the lead role in the motion picture THE STORY OF O. A new career was on its way! Prior to Moonraker, Ms. Clery also made such films as AUTO STOP, FADE OUT, and THE HUMANOID with Richard Kiel.
MANUELA A professional end romantic accomplice to James Bond — one who has a deadly run-in with Jaws — Manuela is played by the gorgeous Emily Bolton. Born on the island of Aruba, the twenty-eight year old actress grew up in England and in Holland. Her earliest ambition was to become a concert pianist, but at the age of eighteen, she decided to change professions. Studying drama first in Amsterdam and later in London, she appeared in numerous television series before winning a leading part in the motion picture VALENTINO. Now the London-based actress is shooting a comedy-thriller in Europe.
CHANG Drax's henchman, who engages James Bond in one of the longest screen brawls in years, and meets his end in as spectacular a fashion as any in motion picture history. Toshiro Suga is the actor who brings the nasty Chang to life. Born in Tokyo in 1950, Suga acted in several films before moving to Paris to study art. The holder a Black Belt in judo, and a part-time martial arts teacher, Suga says of his role, “Sure, Chang is a bad guy: But then, bad guys always have character and I like that.” Suga still resides in Paris where, although his first love remains painting, he will continue to make movies.
OLD FAVORITES Returning in Moonraker are three of Bond's most enduring supporting players: from left to right, Bernard Lee as M, the head of the British Secret Service; his devoted secretary Miss Moneypenny, in the person of actress Lois Maxwell; and Desmond Llewelyn as Q, M's right hand man and the designer of the many super gadgets used by James Bond.
Nobody does it better!
Those four words, borrowed from a stirring Bond theme song, aptly describe one of the greatest film heroes of all-time: the legendary, unbeatable, unstoppable, unflappable, unsurpassable James Bond—Agent 007 of Her Majesty’s Secret Service.
Whether sleuthing, loving, fighting, or living the good life, nobody does it better than Bond.
Cool, yet compassionate. Capable, yet curious. Deadly and daring. Dynamic and desirable. Picking the perfect wine for any occasion, or saving the world. The man to call is JAMES BOND!
But to secure the safety of a stolen Space Shuttle?
To quell a cunning, capricious, international conspiracy of sinister space scientists?
To mash the mad plan of a murdering, megalomaniacal, militaristic multi- millionaire?
Can even the amazing 007 hope to handle the most exceptionally evil threat, the most paralyzingly powerful foes, of his long and illustrious career?
Join James Bond solving the mystery, battling the villains, and blasting off in the adventure of Moonraker!
THE SKYJACKED SHUTTLE
The shining sun rises on a new day of scientific achievement and international cooperation. No longer do powerful nations view each other with suspicion and hate.
A glorious example of this new detente streaks across the sky, over the glistening waters of the Atlantic Ocean. A massive 747 jetliner is winging its way from the United States to Great Britain, a NASA Space Shuttle firmly attached to its back.
In the plane’s cabin sit two contented yet conscientious pilots, both of them wearing NASA uniforms. Behind them is a British Navigation officer in his RAF duds—another example of the strong bond between allies.
Photo: The mighty, magnificent Space Shuttle prepares to blast 007 to new heights in Moonraker.
The craft’s destination: London, where, in the name of “share and share alike,” the English can study the complexities of the spacegoing Shuttle.
Photo: It's a plot to end all plots; a plan to end all plans. James Bond comes up against a villain as ruthless as he is rich - pitiless as he is powerful. Can even 007 stop him and his minions?
But more than futuristic equipment lies within the walls of the Shuttle. There is evil afoot, in the form of two stowaways aboard. Seconds later, the Shuttle’s ignition light turns a fiery red and the craft rockets off the top of the jet. In the horrible, flaming trail of the Space Shuttle’s rockets, the jumbo jetliner disintegrates in a sea of boiling, whirling, blackened ash.
The remains of the once-proud plane and courageous men crash to earth—while the skyjacked Space Shuttle speeds toward ... who knows where?
The public-at-large is kept from panicking thanks to a news blackout, but the reaction of the international investigation agencies is immediate!
And finally, helplessness!
But in one office, the reaction is strong ... bold ... and sure. From the head of the British Secret Service, a man known only as “M”, comes the word:
Get James Bond!
But where IS James Bond?
photo: Jaws gets his paws on the cable car's wheel. He wants to stop the world and get Bond off!
THE FABULOUS. FREEFALL FIGHT!
Yet another plane streaks through the sky. But this craft is a small, luxurious private jet: it houses not skyjackers, but the debonair 007 himself. With him, not surprisingly, is a beautiful companion. But this shapely cabin-mate, dressed in the outfit of a stewardess, has treachery, and not love, in her heart!
After a single kiss, a formidable-looking gun appears at James Bond’s side.
Enemy agents have the hero at bay! A cruel-looking pilot appears, holding yet another gun on 007, and wearing a parachute on his uniformed back. With a leer, he informs the agent that they plan to leave him in the jet after destroying the controls. But the resourceful 007 does not intend to die in a crashing Lear!
With a lightning-quick move, he knocks the pistol from the girl’s hand, and smashes into the pilot. Suddenly, a hand reaches from amongst the two struggling figures. It pulls the “door release handle.”
A sucking pressure!
The hiss of whipping wind!
In an instant, the jet’s emergency door has opened dangerously. The pilot desperately pushes Bond toward the exit, but agent 007 turns the tables and it is the pilot who takes the fall.
Bond watches the villain’s descent from the door of the plane. But his look of satisfaction vanishes as it becomes apparent that the danger is not yet over. Two hands appear behind him. And they are not the dainty hands of the stewardess. These are massive paws, unbelievably big. And they slap onto Bond’s back with the power of battering rams.
There is only one direction Bond can go, and that is down.
Without a parachute!
Now it is the mammoth Jaws, that gigantic, steel-toothed bad guy seen swimming into the sunset at the end of The Spy Who Loved Me, who watches Bond drop like a stone toward the earth below.
The dark ground spins dangerously close as 007 spots the parachuted pilot still freefalling nearby. With dizzying agility, Bond hurls himself on the hapless man and wrests the parachute from his back.
Slipping the life-saving parcel to his own back, Bond prepares to pull the ripcord. But then, astonishingly, a bullet whips by his head from above. Spinning about, he sees the huge body of a freefalling Jaws!
A frantic struggle ensues as the two antagonists plummet toward the hard ground. Finally, Bond wrests himself free of the giant’s grip and sends the speeding adversary toward the ungiving earth below.
But what would be certain death for any other man is just the barest hazard for the titan called Jaws. He slams into the big top of a circus, literally bringing down the house!
James Bond’s descent is far more leisurely. He floats down under his open parachute, unaware that he is about to embark on a mission of gravity in a place with no gravity!
photo: Things are bad for Bond all over. He has a high-altitude headache and that choking feeling you get when you're pushed out of a plane... without a parachute!
THE DOMINION OF DRAX
M , Q , and Britain’s Minister of Defense, Frederick Gray, place the safety of the missing Shuttle in Bond's able hands. His mission: find the craft and the person responsible for stealing it!
007 begins his search in Southern California, and the headquarters of Drax Industries—the manufacturer of Moonraker Space Shuttles for the American government. There, Bond finds much more than he bargained for, such as—
Gorgeous Corinne Dufour, a helicopter pilot for Drax Industries. He also finds:
The Drax estate, which sprawls for as far as the eye can see!
A near-army of scientists, lab personnel, researchers, and astronauts, all recruited by Drax!
And an insidious bodyguard named Chang, who does Drax's deadly bidding.
But before the danger begins, the bearded, somber, chillingly civilized Drax sends 007 on a tour of his facilities. He is shepherded by one of Drax's top aides: a green-eyed, darkhaired beauty of a doctor named Holly Goodhead.
Holly shows Bond the Drax-works. First, there’s the Drax residence, a glorious chateau sent from France stone-by-stone. Then there's the sumptuous garden, filled with rounded examples of womanhood training for Space Shuttle positions. Finally, there's the workshop, filled with the more mundane likes of technicians and sundry testing equipment.
One such piece of machinery is the centrifuge, the merry-go-round device which simulates the gravitational force of a space shot. Dr. Goodhead, outwardly unresponsive toward 007's charms, and unwilling to answer his more provocative questions, flatly tells him that three ‘G’s’ of force is the equivalent of a take-off, that seven G’s usually crushes a person into unconsciousness, and that twenty G’s can seal a trainee’s fate.
She challenges Bond to try the device and, casually, he accepts. Even as he is strapped into the seat of the centrifuge—“for his own safety,” of course—he is unaware of the silent, sinister shape of Chang looming over the control board.
The test begins, although it nearly means the end of Bond. The speed meter on the control console reads three G’s and climbing. Soon it registers five G's and 007 is in agony. Seconds later the meter’s needle exceeds seven G’s and continues to climb!
Holly is called away by a phone call from Drax, but Chang’s evil figure lingers by the controls. The pressure of the whirling machine pins Bond to the padded chair like an iron vice.
His brain burns! His limbs scream!
Is there nothing 007 can do?
Of course! Help, in the form of a gadget developed by Q, saves the day. Around Bond’s wrist is something which resembles a fashionable steel strap. But with a flick of his wrist, Bond sends a dart speeding into the engine of the centrifuge. With a tortured cry of metal, the murderous machine grinds to a halt.
Bond escapes to sleuth again, which he quickly does. As soon as nignt falls on the Drax estate, he discovers the charms of the pilot Corinne, who resides in the chateau. Corinne is far less reluctant than Holly to offer 007 all manner of assistance. With her cooperation, and with the help of Bond’s handy cigarette case—which doubles as an X-ray machine—they break into Drax’s wall safe.
Bond gets his next lead from papers he finds therein, not realizing that their actions have guaranteed the death of the fetching Corinne! The evil Chang spies her leaving the safe room, and reports this to Drax.
The next day dawns sunny and beautiful. Drax gathers Chang, some of his shapely astronauts-in-training, and a team of Doberman pinschers for a little hunting trip. Bond makes a hasty exit, but after he leaves, Corinne goes to the dogs—literally!
The seemingly docile Dobermans turn savage upon Drax’s command. They chase the poor girl into the forest of the estate, and hound her to her death, Corinne dying beneath their wicked teeth and savage claws. But it is a death that 007 would avenge!
VENGEANCE IN VENICE
The clue in the safe takes Bond to the Venini Glass Works, a combination glass factory, showroom, market, and museum. But a beautifully wrought crystal is not the only thing that draws Bond’s attention. Besides the stunning salesgirl and tour guide, he spots Holly Goodhead. What is she doing abroad in Venice?
Photo: A gondola in Venice. What could be more natural? Only this is the "Bondola" floating on air across St. Mark's Square.
But of more immediate concern are the dangers which lurk in the waterways near St. Marks Square. The local inhabitants use gondolas the way Americans use taxis, and Bond firmly believes that when near Rome, do as the near-Romans do. However, his sea-going craft is no ordinary ship—as several waterbound thugs discover when they try to assassinate our hero. Guiding a funeral barge beside the unsuspecting agent, they loiter as the “corpse” they carry comes suddenly to life with a very nasty knife in his pale hand!
The corpse—actually a trained killer—hurls his weapon into Bond’s gondolier, then tries to do in 007 with blade after blade, which he plucks from the customized lid of his coffin and flings with deadly precision. But Bond has some customized equipment of his own!
photo: This slimy, sinister snake has a "crush" on 007, as Bond tries to get a grip on the slippery problem.
At the press of a button, the gondola reveals itself to be a supervessel, complete with a set of electronic controls and a powerful outboard motor.
Taking a moment to repay the death of his gondolier, Bond steers his speeding craft into the watery byways. Some newly arriving killers in an outboard give chase, just as the funeral barge—its corpse really dead this time— crashes into a low bridge.
After a hectic, hazardous chase, Bond makes his escape with another of “Q’s” inspired devices. With the pull of a lever, the gondola becomes a hovercraft, leaping onto land while the pursuing boat sputters helplessly offshore. It comes to rest in the midst of diners and tourists in St. Marks Square.
But 007’s mission in Venice is far from finished. The mystery of the Venice Glass Works has yet to be plumbed. And Bond’s plumbing leads to one shock after another.
First, he discovers a fully equipped lab behind the establishment, where an especially deadly form of poison gas is being produced. Then, in the process of stealing a sample of the toxin, Bond sees a tiny vial of the stuff kill two scientists. Finally, the secret agent finds himself face-to-face with a very angry Chang!
Their battle royale carries them through the glass showroom and into a crate-filled loft. Bond manages to propel Chang into a wooden crate. As the dazed bodyguard collects his wits, 007 notices his next lead stencilled on the side of the broken box. But first, he must survive his bout with Chang!
The fight rages on, crashing its way upward to the famous Merceria Clock Tower above St. Mark’s Square. Inside the huge structure. Bond rings Chang’s death knell by throwing the villain through the zodiac-glass clock face!
The killer falls into the dining area below, landing headfirst in the body of a grand piano. Having thus given Chang an “ear for music,” Bond sallies forth to find and confront Holly Goodhead. Turning on the charm, Bond disarms the girl... in more ways than one! Correctly assuming that she is a C.I.A. agent who had been planted undercover in Drax’s employ, Bond grabs her purse to discover a radio handbag, a missile-shooting diary, and a hypodermic ballpoint pen. Clearly, Holly is not a girl with whom to be trifled!
Striking a truce, the two form a romantic partnership that lasts as long as it takes for Bond to slip into the night. His next stop:
Rio de Janeiro!
Photo: Drax's nerve gas claims a victim. Talk about toxic! This deadly stuff will take your breath away!
Photo: Only in a Bond movie can a "corpse" become a killer! For 007, this funeral barge becomes a double edged threat!
Photo: "Shall we dance?" Bond seems to be asking his oriental adversary. But, in reality, theirs is a dance of death.
THE CARNIVAL AND CABLE CAR CAPER
Before his departure, 007 takes just enough time to leave the vial of nerve gas with his superiors. Meanwhile, Drax is without a bodyguard. Since the rich lunatic hires only the best, he takes on the overwhelming, overbearing, overachieving, overdeveloped Jaws to replace Chang.
Elsewhere, 007 has also picked up a new ally, one who is far shapelier than Jaws. Called Manuela, she is a sexy South American secret agent who knows a great deal about undercover work—as Bond takes the time to learn before setting off to investigate his new lead, the crate he had broken using Chang’s head. It bore the logo of the Carlos and Wilmsberg Importing Company, a subsidiary of Drax Industries.
That night, wildly costumed revelers take to the streets of Rio for their annual carnival, while Bond and Manuela take to the shadows and alleys to investigate a Drax warehouse along the route of the carnival. Amid the dancing, laughing, drinking, shouting, wildly-costumed celebrants, Bond casually breaks into the supplyhouse.
But there is one wildly-costumed creature who does not dance, laugh, or drink. And he cannot shout, for, instead of teeth, he has bright, interlocking dentures of steel. He watches Manuela, who is waiting for Bond, and bides his time.
When Bond finds a label for “Drax Air Freight” in the otherwise empty warehouse, Jaws feels that he can delay no longer. He stalks Manuela in the empty alleyway; she pulls a knife on him, but with one huge paw he sweeps it from her grasp. Then he pulls her to him and his wide lips part in a gleaming, ghastly grin.
Is it to be adios for Manuela? Not if our hero can help it. And help it he does!
Leaping from the warehouse, Bond lands on Jaws, and the two resume their continuing battle. Suddenly, the alley is filled with happy humanity, a sheer mass of people celebrating the carnival. Without warning, they engulf the fighters, inadvertently separating Bond and Jaws. When they surge back into the street, they take a very frustrated, very mad Jaws with them!
The next morning, the matter of the Drax Air Freight label must be attended to. Heading for the top of Sugar Loaf Mountain—the spectacular, gumdrop shaped peak that can only be reached via a slow funicular ride—he intends to use coin-operated telescopes atop the mountain to spy on the Drax company. But Bond is not the only one who rises to the occasion. Holly has also ascended to the summit of Sugar Loaf, and already learned that the Drax group is sending up planes from the nearby San Pietro Airport every two hours. Their destination? That is exactly what Bond and Goodhead intend to find out.
First, however, they have to get down from the mountain. Usually, that means a short, enjoyable cable-car ride. But not when the carriage’s only occupants are our two heroes, and the control booth has been invaded by — JAWS!
Photo: Bond and Holly make mincemeat of a pair of Moonraker Space Shuttle pilots
Photo: Arrival! 007 and Holly make it to Drax's stronghold in outer reaches of Earth's atmosphere.
Suddenly, the scenic trip is turned into a horror-frought obstacle course. Using his slab-like hands, Jaws halts the cable car. Then, with his metal molars, he bites one of the support cables in half!
Bond is practically hurled from the car by the resultant shock, but with Holly’s help manages to remain onboard. Alas, the attack is far from over. The Goliath-like heavy decides that it is time for a frontal assault: mounting the roof of another cable car, he signals a confederate to move it toward Bond’s stranded carriage.
As soon as the two compartments are at a level keel, Jaws hurls his hulk across the abyss and continues his battle with Bond. Fortunately, they are able to cut the altercation short.
Jaws crashes through a door in the roof of the cable car. This is secured by 007, who proceeds to coil a chain around the overhead wires.
photo: The fight is joined! The end is near! And Bond is cornered! Can 007 turn defeat into victory?
As the heroes slide down the heavy lifeline, the irrepressible Jaws recovers. Fully and wickedly conscious, he signals a compatriot-in-crime to send the funicular after the fleeing operatives.
The fight becomes a race! Will Bond reach the ground before the pursuing car knocks them off the wire? Clinging together, the pair slides faster and faster, ever downward, gritting their teeth—until, at the last possible moment, they let go of the chain. Moments later, Jaws’ cable car crashes into the ground level control booth.
At last, all is well for Bond and Holly. Jaws has been sidelined, Bond has gotten himself and his companion down in one piece, Holly is openly grateful, and an ambulance is nearing to check for injuries.
Only when the white-garbed orderlies show up does the bubble of security burst! One of the newcomers brandishes a blackjack destined for 007’s skull, while two others jump Holly with more than medical attention in mind.
Photo: The ever-able Holly Goodhead winds up for a paralyzing punch to the jaw of a Drax technician.
When Bond regains consciousness, he finds himself and Holly tied to wheeled stretchers in the back of a Drax ambulance. Yet, it takes more than mere ropes to hold James Bond! Hurriedly disengaging himself, he jumps a scalpel-wielding guard. A violent and a vicious fight ensues, rocking the ambulance on its shocks—until, with a mighty bound, 007 smashes his attacker onto his empty stretcher and they both bolt out the rear door. Bond drops off and tumbles to a bruising halt, but the stretcher keeps on going and going until it’s gone, the ambulance guard flying head-first into a roadside billboard. The ambulance, too, keeps on going with Holly Goodhead still a captive onboard.
photo: The diabolical Drax delivers his deadly demands from his demonic domain in space.
Photo: The Marines have landed! From the Halls of the Moonrakers to the shores of Space Colonies! They will fight the country's battles on the land and on the sea...of space!
THE MONASTERY MEETING AND MAYAN MASSACRE
And Secret Agents!
That’s what James Bond finds in a dusty Pampas town. Dressed as a gaucho, 007 enters a monastery. The ancient dwelling place of saints and clergy is filled with dark-robed monks—but what monks! Some of them kick up their heels in karate exercises, some hurl bolos that decapitate life-size mannequins with explosive charges, and some turn fantastic ray guns on other dummies who melt into nothingness—oblivion!
The only thing normal about the monastery is the calming presence of M, Q, and their faithful aide Miss Moneypenny.
Awaiting 007 is an analysis of the nerve gas he stole from the Drax lab. Not only had Q traced its vital ingredient—an orchid called Orchidacea Negra—to the upper reaches of the nearby Amazoco, but he had prepared a means for Bond to track it down.
As usual, Q’s way is fast!
In a twinkling, 007 finds himself piloting the Q-Craft, a sleek motor launch capable of terrific speed—as well as spectacular destruction. And both attributes are sorely needed when three high powered Drax boats blast after the operative.
Bond is more than a match for his pursuers, adding years of battle-honed skills to Q’s armaments. The first pursuing ship is quickly plastered across the breadth of the surrounding jungle. The second finds itself the attentive object of a tenacious, motor-seeking torpedo launched from the bow of the Q-Craft. It swiftly joins the previous speed boat in eternity.
But the final enemy boat is piloted by Jaws, and it’s armed to the stern with missile-firing cannons.
The quiet, fauna-lined river is suddenly ripped with gunfire! Dotted with huge jets of exploding shells!
The chase is on in earnest!
But this particular river happens to end in the spectacular Iguacu Falls, an incredible drop of roaring, roiling water. And James Bond is speeding right towards it!
Like lethal, liquid clamps, the water grips the underside of both boats. The river rushes forward, rocketing the vessels toward the waterfall. Jaws and his fearful crew scramble to escape, but 007 holds the course, driving straight ahead with the engines full out!
The ship surges forward, slapping across the water.
The chasm of the fall nears.
It seems certain that James Bond is doomed!
Then, at the last moment, 007 reaches up. Clasps are secured. Cords snap taut. Two levers are quickly slapped down, and—
Bond shoots up, up, and away! The entire Q-Craft awning detaches itself and unfurls as a fully outfitted hang-glider. Bond is back in action, and it’s the only way to fly!
Jaws and his group are not so lucky. The inexorable grip of the falls pulls the Drax craft over the lip and dashes it to the rocks far, far below. Maybe this time it’s truly the end of the formidable Jaws. Or ... like a shark, will he come swimming back for a return engagement?
007 has more than Jaws fate on his mind, however. There is still the matter of a missing Moonraker Space Shuttle,not to mention the secret scheme of the maniacal magnate to whom death means naught!
And, more immediately, Bond must make a flawless landing amid the teeming tangle of the jungle. He manages this, lighting with the precision of an experienced flier, but no sooner does he plant his feet on terra firma than a striking blonde beauty appears. She wears a flowing, very revealing white gown, secured with a pin bearing the insignia of—
Feeling that the answer to this globe-girdling mystery is about to become clear, 007 gives chase. The female’s flight leads him across rock faces, through dense foliage, around trees, and finally into the breathtaking remains of an ancient Mayan city. The blonde beauty, poised, serene, inviting, stands at the very apex of a giant stone pyramid, having ascended on a stairway etched from the solid rock.
There can be no doubt now. The girl has intentionally lured the agent to this destination. Intrigued but wary. Bond follows.
Inside the centuries-old structure, he discovers a dazzling combination of the antique and the avant-garde. More stairways etched from solid rock. Sparkling cascades of water and crystal. Bold steel structures and walls lined with hieroglyphics. And, in the midst of it all, the blonde beauty.
007 moves in for a closer look, and quickly realizes that the chamber is filled with girls, all of whom he has seen before. Two were in Drax’s California chateau. Another pair had been at the Venini Glass Works. Two more had been seen with the Dobermans the day Corinne died. A final duo had been training at the Drax astronaut complex. The final, terrible truth of Drax’s master plan was beginning to form in Bond’s mind.
Even now, the blonde beauty is beckoning him from the other side of a bridge. The set-up is much too neat. In his long career, Bond has seen too many bridges lined with booby traps, and no less number of trap doors over pools filled with all manner of acquatic danger. Had they brought him this far to ensure his demise?
Bond decides to circle the pool using the rocks which surround it. Suddenly, as 007 steps on one of the stones, it tips up and dumps him into the drink.
Bond’s caution has backfired!
Even as he struggles to the water’s surface, a gigantic, twining, deadly snake slides silently into the water.
Faster than Bond can reach the side of the pool, the exotic monster weaves its way across the agent’s body. In a moment, Bond is trapped within its slimy coils. With the power of a steel press it constricts him; with the immutability of a steamroller, it forces him ever deeper.
What to do?
If the water doesn’t drown him, the snake will crush him. Will this jungle beast succeed where the greatest villains in history have failed?
Luckily, James Bond has something up his sleeve. More precisely, he has something in his pocket: the ball-point hypodermic he had taken from Holly’s purse in Venice. With a blast of strength, 007 buries the needle in the snake’s
neck, then presses the button.
The snake shudders, and soon the water itself is rippling from the snake’s death throes. The coils loosen from about Bond’s body. He can breath again!
But other dangers lurk within the Mayan pyramid. Just when 007 is certain that he had gotten through the worst of it, two great hands pluck him from the pool as though he were a rag doll. He looks up and moans: it seems that Jaws, too, lives!
The malevolent gargantuan is soon joined by the wicked Drax. The villain welcomes Bond coldly, then orders Jaws to lead the agent to the pyramid’s Great Chamber, the very nerve center of Drax’s operation.
dozens of guards
and a horde of technicians, the industrialist all but ignores 007 as he tends to the departure of his personal fleet of—
Moonraker SPACE SHUTTLES!
One blasts off from a desert locale.
Another climbs spaceward from within a mountain range.
A third rockets up.
A fourth exits a small volcano.
Back in the pyramid, a technician announces the imminent departure of yet two more transports. Their destination and secret purpose are something James Bond will have to discover ... or die trying!
If Drax or Jaws have their way, his fate will be the latter of the two. To this end, the billionaire has his metalmouthed lackey hurl 007 into a large, circular, high-ceilinged room. There, he finds his long-missing aide Holly Goodhead.
Bond looks warily about. Their prison is actually rather nice, with sumptuous decorations. Yet, something about it is vaguely disquieting!
That “ something” becomes shockingly, horrifyingly clear when the ceiling slides neatly away and the agents’ vision is blocked by a monstrous Moonraker attached to a rocket. Unfortunately, Bond and Holly are looking at it from right below its mighty thrusters! The murdering madman has actually imprisoned them in the exhaust chamber of Moonraker 5! Once the craft took off, their pleasant prison would become a chamber of searing death. Instead of a job well done, Bond and Holly would be well done!
Drax, his manner still chilly, lacking even an iota of pity, pauses before entering the Shuttle’s control cabin. He delivers a cruel farewell speech to his nemeses and then boards the vehicle.
With only three minutes to lift-off, Bond must do the impossible: find an escape from a sealed, exitless shaft. But for super agent James Bond, the impossible is commonplace.
Without wasting a second, he locates an air shaft. It has a square grille, but a grille so tightly attached that no human could possibly budge it—with the possible exception of Jaws who, alack, is on the wrong side of justice.
However, where strength fails, Q’s technology succeeds. With just two minutes before Moonraker 5 blasts off, Bond uses one of Q’s gadgets to blow the grille from the wall and swiftly pushes Holly along the tiny, makeshift escape tunnel.
One minute to go!
The Iwoonraker's supporting structure falls away.
Thirty seconds left!
The chamber fills with black smoke.
Bond and Holly crawl desperately to safety.
Three ... two ... one ...
White flame. Crumbling heat. Total immolation. Moonraker 5, with Drax onboard, rises skyward without a hitch. But at least Bond and Holly are alive! Thus, their next assignment is to somehow follow the madman and stop his plan, whatever it may be.
Leaving the exhaust shaft, the pair hears that Moonraker 6 is ready for launch. Holly spies its cargo: six sets of astronauts, pairs of men and women, each one as physically perfect as the next. Deciding that it would be difficult to join that group without being discovered, the agents elect to take the place of the Shuttle’s two pilots.
photo: 007 is not just "dancing on air." He and Holly are trying to appreciate the gravity of the Drax danger.
No sooner thought than done, the pair hijacks the motorized buggy which is carrying the astrofliers to the Shuttle. They make short work of the spacepilots and, with mere minutes before departure, Bond and Holly are fully spacesuited and onboard a ship bound for ... who knows where?
SPACE BELONGS TO 007
It is thirty seconds to lift off.
Thankfully for all concerned, Holly has had NASA training and is an astronaut worthy of anyone’s mettle. Besides, she reassures a slightly shaken but hardly stirred Bond, the ship is on automatic.
The TV monitors of Moonraker 6 provide the operatives with a view of their blast-off, as well as information on the progress of the other five Shuttles. Bond flips on the monitor to study their own hold. The presence of the six pairs of near-perfect astronauts causes a plot to unfold in his mind. They were going out of this world two by two ...
The answer is not long in coming. Soon, the Shuttles begin arriving at Drax’s world.
An incredibly strange, fantastically structured space station, hovering in orbit above the earth like a monstrous mechanical spider ... waiting to strike from its black web.
Possible? Complete with a device to block out radar, telescopes, and electronic tracking systems:
Drax has actually financed and built his own private city in space.
In quick succession, the six Moonrakers dock at six different stations on the sides of the floating structure. With a flick of the “Rotation Thrusters” the space station begins to turn, and artificial gravity is created.
Drax had done it. For years, NASA had planned and plotted, designed and devised—but Drax was the one who put the first space colony in orbit. He did it using existing
technology, and right under (not to mention over) the nose of the unsuspecting world!
Joining the throng of newly arrived astronauts, scientists, and technicians, Bond and Holly journey to the Central Command Satellite. There, 007 sees a sight which makes his blood freeze with dread:
A row of glass-like globes filled with Drax’s deadly nerve gas!
Almost immediately, Drax begins telling his minions about his dream. The deadly dream that these people would help make a reality.
In space, he plans to create a super race, a race raised with obedience to Drax foremost in their minds. These super people will then be sent to earth. Of course, there is one small impasse: to make way for Drax’s brand of perfect people, all imperfect people would have to be eliminated. And what is Drax’s definition of imperfection? Anyone and everyone who lives on the earth!
Bond’s objective is now perfectly clear: he must find the radar jamming system and destroy it. That will enable earth-based scientists to discover the space station and launch an immediate investigation.
Filled with grim resolve, Bond and Holly slip away and discover the Electronic Camouflage Unit. It is being worked by two radar operators, but—
A flash of a fist!
The blur of a karate blow!
The sharp snapping of bone against flesh!
The solid crack of a broken jaw, and Drax’s accomplices are sent to an early retirement—on the floor. With confidence and pleasure, Holly wreaks similar havoc on the radar jamming system, and it is put out of commission for good! The result? Space officials in Houston can suddenly see. Moscow can suddenly see. Cape Canaveral and the U.S. Space Marine Center can suddenly see.
And they don’t like what they are looking at!
Photo: Drax's dream-world goes up in smoke!
Col. Scott, U.S., calls General Gogol of the U.S.S.R. Both are in agreement:
An attack must be launched at once! But is it too late? Already, Drax is depositing globes of nerve gas in a death orbit around the earth. Upon entering the earth’s atmosphere, these spheres will disintegrate and destroy all human life with their toxic contents.
Photo: The Moonraker Space Shuttles are attracted like flies to the metal Space Station spider in the sky.
From their vantage point, 007 and Holly spy the globes starting their slow descent. But their worst problem is who spies them.
The one and only... the ultimate... the indestructible... Jaws!
Their battle is renewed! This time, Bond tries every physical attack trick in the book—all to no avail. Jaws captures both agents and drags them before an enraged Drax. To prove his total power, the megalomaniac promises to destroy both 007 and the approaching U.S. Marine Space Shuttle.
But the dynamic English operative has other ideas. Though Jaws might SEEM unbeatable, nobody — NOBODY—does it better than Bond!
Drax orders his large laser gun turret to wipe out the attacking craft. However, just as the weapon is about to lock onto its target, 007 strikes.
With lightning-quick reflexes, he stabs off the artificial gravity switch. Immediately, the Rotation Thrusters shut down and the space station reacts like a derailing turbotrain!
Everyone and everything floats forward and upward at the same time. Equipment and personnel alike go flying across the Command Satellite. Tne marines seize the moment of disorientation to move in.
Drax’s fighters hasten to the airlocks and hurry into space to do battle. Suddenly, the blackness of the cosmos is illuminated by an incredible light show of sizzling death. Laser light cuts, punctures, and kills, while bright silver spacesuits zip back and forth.
As the battle rages, the Rotation Thrusters are reactivated and Drax is once more in command. Even so, his usually calm demeanor begins to crack. Bond has upset his plans and must die! Yet, Drax refuses to dirty his hands with the killing, and instructs Jaws to hurl the agents from the air-lock into the cold vacuum of space.
But Drax has made a fatal mistake. In his haste ... in his hate ... in his private and compassionless world, he forgot one thing. His plan was to create a race of perfect humans. Anyone who didn’t measure up to Drax's standards must die.
Upon Bond’s prompting, Jaws realizes this, and therein forms a new wrinkle. The man-monster has fallen in love! The object of his affection is Dolly, a diminutive member of Drax’s space station staff. And, wonder of wonders, she is in love with Jaws. But what if they don’t happen to fit in with Drax’s master plan...?
Drax, unknowing and unreasoning, gives the command. Expel! Expel James Bond!
Jaws expels, alright—only it isn’t Bond or Holly Goodhead. Using his piledriver fists, he “expels” Drax’s guards into insensibility.
In numb shock, Drax grips his laser pistol. 007 flicks his wrist.
Once more, Q’s wrist pistol speaks, and the word is death. Badly wounded, Drax stumbles into the open airlock. Bond seals him inside, and sends his callous foe whirling into space.
The would-be tyrant is dead!
But his threat is not yet over. Even though Drax has been % disposed, three of his gas vials are moving slowly toward earth.
As the marines break through and the space station starts to fall apart, 007 tells Holly that those globes must be retrieved.
Spying Drax’s personal Shuttle, Moonraker 5, still docked outside the Command Satellite, the duo embarks on a daring plan: race the vials into the atmosphere and play target practice using the Shuttle’s built-in laser.
With a little help from the suddenly sympathetic Jaws, Bond and Holly set off on their mission. Behind them, the legs of the space station begin to disintegrate until nothing but the central Command Satellite is left. And inside, looking truly happy for the first time in his life, is Jaws and his true love Dolly.
After all their battles, all the wounds, all the attacks, all the damage, and all the danger, James Bond faces his exadversary with compassion and understanding, and something more.
Then he sets off to do his job.
Holly spots the three toxic globes in succession. Bond fires the laser. Number one disappears in a blaze of light. As the Shuttle skips against the circular cover of the earth’s atmosphere, 007 zaps the second globe into nothingness.
But the third—well, number three is always the dicey one!
The Shuttle rocks violently. The cabin pressure increases.
Photo (color): A bound Bond. Drax may hold him now, but not for long!
Photo (color): 007 would just like to drop in after a wearing "chuting" match.
Photo (color): The guys in Drax's space station are having a blast! They're all blown away by Bond!
Photo (color): It's the pyramid-shaped Great Chamber, Drax's Mission ' Control.
Photo (color): The nefarious Drax!
Photo (color): It's "T" minus 007 and counting. The Moonraker Space Shuttles blast off with Bond and Holly aboard.
Photo (color): Chop-Socky on a Drax space lackey. James Bond attacks as the beautiful Holly Goodhead lends martial support.
Photo (color): The U.S. (Space) Marines have landed, only this time in the ocean of space. They who laser last, laser best—as Drax's station in space goes to waste!
Photo (color): Bond hits the panic button and everyone hits the ceiling! With the gravity on the blink, the bad guys just hang around.
Photo (color): "I wanna hold your head!" or so the genteel Jaws seems to be saying as he reaches for—YOU!
Photo (color): The diabolical Drax is sitting pretty. He's got the machine guns, the Moonrakers, and the minions to make humankind miserable. Can even the magnificent James Bond stop him in time?
Photo (color): A Drax scientist gets all choked up over a little gas.
Photo (color): A tiny man with a tiny gun guards Jaws
The heat begins to rise. Holly is struggling with the controls. Bond is sweating. Their present altitude: 250,000 feet. The altitude at which the friction of this path of reentry will destroy the Shuttle: 200,000 feet.
The third globe is sighted. Bond fires.
The Shuttle begins to quake in its diving, dangerous fall.
Bond fires again. And misses!
The Shuttle’s wings begin to bum.
The globe is beginning to melt!
Bond pauses an endless second. Then fires.
The third globe disappears in a flash of laser light.
The world is saved!
ONE MORE TIME
The threat is ended—a monumental task for some, but it’s all in a day’s work for 007. Understandably, Holly Goodhead puts the Moonraker 5 on automatic and snuggles into Drax’s lush living quarters. It is not business on her mind ... it is pleasure. Out of this world joy!
But unknown to Holly, there is a governmental Peeping Tom onboard. Using the Shuttle s internal television cameras, Q has established visual contact between Moonraker 5 and earth. Just as Bond settles down, the camera is activated—catching 007 getting a well-deserved spot of rest and recreation!
Summoning his British reserve, Bond humbly suggests that they head home. But Holly’s American liberation will not be so easily suppressed. Oblivious to their slightly embarrassed audience, she and her companion go one more time around the world!
Holly Goodhead in the arms of the greatest of them all—
Photo: It takes a deadly dart to seal Drax's late.
Photo: Q and the combined governments of the world get the picture, as James Bond gets caught on "Candid Camera." Good Show!
ALBERT "CUBBY" BROCCOLI: INTERVIEWED!
Photo: Albert S. "Cubby" Broccoli, producer extraordinaire.
Albert Broccoli is a personal filmaker. Unlike many producers, he is almost always on the set, and is ever-willing to pitch in on menial chores to help his film succeed. Without Broccoli’s drive and faith in the Bond character, the series would not be the legend that it has become.
Born in Astoria, Long Island, Broccoli learned early-on the value of hard work. He took a job on his uncle’s farm and, by the age of sixteen, was driving huge truckloads of vegetables to various markets. Shortly thereafter, he began to study journalism at night-school. Then, on a fateful visit to Hollywood in 1933, he fell in love with the industry. He remained behind, landing his first job in the mailroom at 20th Century Fox. After serving in World War II, he became an actor’s agent, and then a producer. His first film was THE RED BERET in 1952, and was followed by such hits as HELL BELOW ZERO, PARATROOPER, COCKLESHELL HEROES, and others.
In 1962 he co-produced Dr. No, and the rest is history.
Though Broccoli travels the world over to shoot his motion pictures, he and his author-wife Dana make their home in California.
This interview with Mr. Broccoli was conducted by Richard Meyers while the producer was in New York promoting Moonraker.
Q: As everyone no doubt knows, the James Bond of the movies and the James Bond as written by the late Ian Fleming are totally different. How did you make the transition from printed page to celluloid?
A: Well, actually, these films are not created the way Fleming created his books. We tried to be very astute scholars of the Fleming work. I knew him, after all, and he was a lovely man. So we tried to find out what James Bond was all about. When he died it was a great loss to us — especially because he began to like what we were doing. We tried to roll with and learn from the changes. But even Fleming noted he was running out of enthusiasm doing the books. In fact, in the novel The Man With The Golden Gun, he tried to bring himself to kill off James Bond. We decided, as we went on, that changes were necessary. As we continued filming and continued writing screenplays, things developed.
Q: Roger Moore was quoted as saying several years ago that he wanted The Spy Who Loved Me to be his last Bond picture. Then he went ahead with Moonraker. Are you gearing up to search for another new Janies Bond?
A: No, I'm not making any search. If Roger wants to do it, he can. We’ll let him do it. But then again, if he doesn’t want to do it we’ll find somebody else, only because we’re forced to. As we were forced to find somebody to take Sean Connery’s place. We came up with George Lazenby, whose picture was not unsuccessful. It was a very profitable picture (ON HER MAJESTY’S SECRET SERVICE.) I have a feeling it would have been more profitable with someone else starring. Like Sean Connery. But now Roger has filled the gap so nicely we go with him. He’s a bigger money maker worldwide than any of the Bonds. People everywhere have accepted him.
Q: Do you think the character of James Bond has changed even between the last film and Moonraker?
A: Yes, I think so. It’s changed quite a lot over the years.
Q: How so?
A: Well, going back to the Sean Connery Bond . it was changed because we did not need the Sean Connery type. Bond, as we saw him was a cool type. I have said this before, but it’s true. Roger plays Bond closer to the image Fleming set in his books. Bond is light-hearted, humorous, a bit nasty, or course, and a bit rough; yet, outside that front there’s a lot of humor. I mean, we can laugh with him and at him. We can laugh when a man like Jaws picks him up with one hand and throws him across the room. We might feel sorry too, but we can enjoy seeing him getting the crap kicked out of him. But the best comparison I can think of between the two types of Bond is when you see Dick Powell and Humphrey Bogart play the detective character Philip Marlowe in two movies. Dick Powell played Marlowe (in MURDER MY SWEET) the way Roger played Bond. And Marlowe would be played by Bogart (in THE BIG SLEEP) the way Sean Connery played Bond. They’re two different types, you take your pick, you pay your four dollars, and you choose which one you want to see. Or maybe both. They’re both very interesting types and they’re both very successful.
Q: Getting on to Moonraker, did you consciously attempt to emulate STAR WARS?
A: We didn’t at all. We did these space things because of the natural talent of our crew. I’m speaking of Ken Adam’s sets and Derek Meddings who is so good with special effects. The departure from Earth-bound action came because of their talents and because as we went on writing these things we saw Bond in space.
Q: And how did that idea develop?
A: We visited places like Rockwell International and NASA. As we talked to these people, the reality of what they were trying to do took shape. We attended a seminar where all these marvelously talented scientists explained space colonies to us. As all these people told us these things, we began to realize we had a story here. These scientists could put up a station like the one we have in our picture but they don’t have the money. Anyway, I am not a scientist, I’m repeating what I heard like a parrot — and maybe not too well. But basically we worked on the space station idea and developed it into a complete story. It’s not science fiction ... it’s science fact we think. We’re closer to science fact in our approach than science fiction.
Q: Your finished Bond scripts are usually wonderful combinations of humor, action, and romance. It hardly seems the work of one man.
A: Well, we’re all involved. I am very much involved. I’d like to think that I’m a very important part of this. I have been from the very beginning with my then-partner Harry Saltzman. We said what we wanted to say. And I’d like to think that I’m still a creative producer. I have the ideas and they have to be written, so we employ writers to do that. I don’t think even the greatest writer in the world can just sit down and write a James Bond story to my liking. They need our discussions. And when I say “our,” I mean not mine alone. I mean our director, our executive directors, and many others. There are many who come in only for consultation, and then there’s Ken Adam’s set designs. All are important. That’s the way we are. It is a team that does Bond. It isn’t any one of us.
Q: How great a contribution does a director make in the success of a Bond film?
A: I think a big contribution if he’s good. Lewis Gilbert is good. But he’s a Bond director, you see. I think one has to earn your reputation as a director, or a writer, or even a producer for that matter. Especially on a Bond. You can't just fit in automatically on your first Bond picture. And I think we all learn a lot every time out. Including Lewis. But the great quality Lewis has is his unflappability. The whole ceiling could be falling down and he’s just talking about a way to overcome it. He never gets nervous, he never throws up his hands and says ‘we’re in trouble.’ And sometimes we are in trouble! It’s amazing. Whereas other directors I’ve had on Bond get panicky and don’t know what to do, a director has got to find a way out. Lewis always finds his own way out.
Photo: James Bond always aims at the best in movie entertainment. And with Moonraker, 007 and producer Broccoli have hit the bullseye.
Q: How much do you think the music lends to a Bond movie?
A: Now, I don’t think anybody can score a picture like John Barry for suspense. I mean, with all due respect to Marvin Hamlisch (The Spy Who Loved Me), who I like very much, and George Martin (Live And Let Die), who I like, there’s a certain thing that Barry gives to a picture just at the right moment that helps the action, helps the suspense, helps the nature of the sequence. Whether it's a love scene or a fight scene or whatever, there’s a thing about Barry. I think he is one of the great cinema composers.
Q: You did a rather incredible thing between The Spy Who Loved Me and Moonraker. You pushed the budget up by over ten million dollars!
A: Well, WE didn’t push the budget up. The forces of nature pushed the budget up. The forces of economy, the forces of inflation, and the incredible cost in Europe, France — England for that matter — and wherever we went! All of the prices are rising and yet we won’t diminish the quality of the picture.We cannot ever do that. Otherwise we’d stop making them. We can’t do a dirty deal on the audience. After all these years, the Bond syndrome is getting stronger instead of lessening. So now are we going to say ‘we can afford to pull back and give them less quality? ’ That ‘ no one will know the difference?’ It’s not true. The audience knows. I give them credit for that. Our public knows. They either like us or hate us, but they know the quality’s there.
Q: I heard that the opening sequence called for something like 600 sky dives in order to get everything filmed.
A: Well, I’m not sure how many exactly but it’s in the neighborhood of that to get it all together. I think one man alone took about 80 sky dives. And it’s for real. For real! When you see a man go out of a plane without a parachute, it’s really a man falling without a parachute. Its interesting, but the Bond audience is always expecting something spectacular. They are saying, ‘okay, do something you didn’t do last time, better than you did last time.’ And that’s very, very difficult.
Photo: Another example of Broccoli's dedication to the Bond series is his decision to build the 007 stage at Pinewood Studios. That way. Bond would always have the biggest stage in the world at his disposal.
Q: What would you consider the most difficult thing you did on Moonraker?
A: I think all the various flying sequences, down the waterfall, and all that was very difficult to get. We’re always under pressure. At one point we were trying to shoot scenes that would match up with shots done previously in Rio when it was 110 degrees. Right in the middle of‘pickup’ filming.it started to snow. Just needed one bright day and one good town!
Q: Given the hectic shooting schedule, did you have time for the same sort of outlandish fun that has become familiar to Bond sets?
A: Fun? Yes, we have fun, but I can’t think of any terribly amusing things at the moment. We had torrential rain in Rio, snow in London, and the first night we were ready to shoot 500 extras representing the carnival, Rio had the first bus strike in their entire history! We had no way to move these people onto locations.
Q: Think someone was trying to tell you something?
A: If we got in or out of anywhere we were lucky.
Q: So its been quite a challenge all around. Where do you see Bond going now?
A: I don’t know. We’ve been almost every place under the sun. Under the ocean, over the waves. Well, I’ve no idea.
Q: Was there anything you wanted to put in Moonraker you weren’t able to?
A: Yes, there were a lot of things we wanted to put in but we’re not going to talk about that because we want to save those things for the next J.B. They’re exciting ideas, but putting them in Moonraker would have been a bit too much. We don’t like to run too long. Two hours and ten minutes seems to be sufficient.
Q: Putting together any Bond really seems to be a major task. Would it be safe to say that you’re fairly obsessed with James Bond?
A: Close. I’m obsessed, if that’s the word, with continuing to make them because there’s a huge public out there wanting to see them made. If I stop making them and they’re still successful, somebody else has to come along and do them. We're already grooming people to take over, so I wouldn’t say it’s an obsession with me, really. I’ve been making Bonds for 18 years and I’d love to make something else. I’m planning to.
Q: One thing you can probably admit about the Bonds: no matter how big your budget, you have an exceedingly loyal crew that doesn’t have to stick with Bond time after time, but they keep coming back.
A: They like it and they're the best. And they are directly responsible for the success of the film.
Q: It shows the kind of dedication and the kind of work you get from them. I’ve noticed that the Lewis Gilbert Bonds even look more opulent than others in the series.
A: Well, he spends money (laughter).
Q: Speaking of money, what kind of business do you hope Moonraker will do in the United States?
A: I hope it will break even. I hope we do no less than break even.
Q: So you're not the kind of man who plans or plots or harbors hopes?
A: I dare not. I dare not. I hope the public will make up their minds about it. This is the truth; the public is the one who is going to decide the success or failure of the picture. They’re not seeing it because they like me, you know. But if they like the picture, you’re home free.
Q: On the other side of the coin, do you think critics have been unjustly cruel to Bond films?
A: I have no complaints. People like Bond, people hate Bond. But as long as they go to see it I don’t care one way or the other. Some of them, not all of them I’m sure, get tired of Bond's success. Their attitude seems to be, ‘Oh hell, must we say something about it?’ Or, ‘Just because it survives another bash by the critics, must we be nice to it?’ Well, I don’t know. They do what they think is right.
Q: So basically, you intend to produce Bond as long as the public enjoys it.
A: Yes. Bond will probably continue even if Moonraker doesn’t do as well as expected. But, you know, I will find it disheartening if this picture doesn't please the public tremendously. I will consider myself a very bad judge because I think it’s the best effort we’ve made so far. I mean, in my view, it's not only one hell of a good Bond picture, it’s one hell of a picture, period. Even if the hero were named Joe Smith, I think you’ll have found it a good film. And I’ve never stuck out my neck like that. It’s just one hell of a good film.
Q: It must be frightening to consider leaving the security of the 007 series to do other things.
A: Well, it’s a difficult decision, but I'm not abandoning Bond. I’m not tiring of Bond, but I am anxious to do something else. You know, people think I can only do Bond movies. I want to prove I can do something else.
Q: Anything in particular?
A: Oh, no particular thing at the moment. I have four or five different properties.
Photo: Another example of Broccoli's dedication to the Bond series is his decision to build the 007 stage at Pinewood Studios. That way. Bond would always have the biggest stage in the world at his disposal.
Q: Then how about the next Bond movie?
A: I haven’t planned a thing yet. I don’t plan to plan anything. I don’t even want to think about it! Let’s wait until Moonraker is out and flying. Then I’ll think about what’s next.
How many times have YOU seen Moonraker? Two? Five? A dozen? Even if you know the screenplay by heart—and it’s a good one to memorize, what with wit, action, and pathos—there is behind-the-scenes information which has hitherto been known to only a select few.
For example, did you know that in a poll taken among eight of the lovely young actresses who appear in Moonraker, only three of them said that they would want to have James Bond as their husband? Among the negative responses: “I like a quieter man” (Corinne Clery), “I’d always feel he had other things on his mind’’ (Irka Bochenko), and “Who could ever see him changing the baby’s diaper?” (Catherine Serre).
Interested in other bewitching bits of information? Try these:
ITEM: Producer Broccoli takes an almost child-like delight in tearing pages from his script as each scene is filmed and in-the-can. “The payoff,” he explains, “is when all that’s left of my script is the covers.”
ITEM: In the fifty-four days of shooting on exterior locations, the Moonraker cast and crew consumed the following: 10,800 pounds of meat, 27,000 eggs, 40,500 rolls, 6,750 pounds of potatoes, 50,250 bottles of beer and soda, and 26,000 rashers of bacon. The food was provided by “Location Caterers,” a London-based institution founded in 1948 and operated by Phil Hobbs and his staff of thirty.
ITEM: When the English and French members of the Moonraker team decided to play a game of soccer, the Britons chose Richard Kiel as their goalie. The French declared the size advantage unfair, and Kiel graciously backed out. As it turns out, the match, held in a French stadium, was won by the English by a score of seven to three.
ITEM: Did you know that Roger Moore’s wife Luisa has a special name for the suave, rough-and-tumble hero of Moonraker? It’s “Micio,” which means “Pussycat”.
ITEM: According to Space Technology Advisor Eric Burgess, “Moonraker may carry a real warning to humankind. “There are groups on earth today—given a transport system such as the space shuttle—that could establish a station in space for their own sinister ends.” His words seem to echo what Producer Broccoli has maintained since the start of production: “The premise of Moonraker is not science fiction. It’s science fact.” Sobering, no? ITEM: Tired of hearing criticisms from pretentious critics who view the James Bond films as frivolous, Roger Moore noted, “I was asked during the filming of Moonraker when I was next going to make a serious film. I replied that I thought spending around $30,000,000 on one film was pretty serious.”
ITEM: Speaking of money, during the course of shooting Moonraker, star Roger Moore also remarked, “When people tell me I must be very wealthy, I point out that one term’s school fees for my three children’s education in Switzerland costs more than I made in the first ten years of my professional career as an actor.”
ITEM: Due to the strenuous nature of filming Moonraker, Roger Moore was perpetually shadowed on the set by his personal hairdresser Mike Jones, and make-up man Paul Engelen. And with good reason. While it’s all right for Roger Moore to become mussed and untidy, that would never do for James Bond. As one press liaison noted, “He must stay ever immaculate with each hair in place—just the way every hero should look!”
ITEM: In all, Moonraker was before the cameras for twenty-eight weeks of principal photography, with thirty-nine weeks of special effects work running concurrently.
ITEM: Moonraker had its Royal World Premiere at London’s Odeon Leicester Square Theatre on June 26, 1979. It opened in the United States and Canada on June 28.
ITEM: The space station interior was constructed at France’s Epinay Studio at a cost of $500,000. Two other French studios, Boulogne and Brillancourt, also housed Moonraker sets, as did Pinewood in England.
ITEM: In all, nearly one hundred special effects experts worked to create Moonraker’s startling space sequences.
ITEM: The handful of “Bond Beauties” seen in Moonraker were chosen from over 250 attractive ladies gathered up by the Beauty Agencies of France.
ITEM: The spectacular gondola-motor launch-hovercraft seen in Moonraker was affectionately labeled by the crew as “The Bondola”.
ITEM: Some 35,000 snapshots of the action and performers in MOONRAK-ER were taken by the unit still photographer.
ITEM: According to Eric Burgess, the Moonraker crew was very picky about technical details. “Great attention was paid to set dressing of the command center. It was provided with stacks of readouts from real computers, TV displays of information that would normally be read out from a real space shuttle, and personnel wore security badges with each individual’s real photo and different levels of security clearance indicated.”
ITEM: A touch of irony! Moonraker, the production of which was based in France, is Roger Moore’s latest film-to-date. What, then, do you suppose was the name of his FIRST motion picture? You guessed it: THE LAST TIME I SAW PARIS, made in 1954.
ITEM: The original Ian Fleming novel Moonraker was first published in 1955, the third of the fourteen James Bond books the author would pen. The original premise, which had Sir Hugo Drax launching a nuclear missile at London, had to be updated for the motion picture.
Photo: Back stage on a Bond movie there is always time for a good joke and Roger Moore keeps everyone on their toes with his expansive good humor. Making films is difficult but it can be fun too.
Moonraker Sets and Special Effects
The word came from on high. In this case, from the 007 master-producer himself, Albert Broccoli. And the word was: “Make it better than last time!”
Since “last time” meant topping The Spy Who Loved Me, that was a mighty tall order indeed. That monumental blockbuster included the best special effects of the series to date, and the best special effects of any motion picture in recent memory:
The villain’s spider-shaped, ocean-going headquarters!
Massive, ominous supertankers with mouth-like prows!
Shanghaied nuclear submarines, and more!
The “more” also included the gigantic “007 Stage”, the largest in the world, built specifically to house the biggest interior set ever constructed, the sparkling supertanker hold complete with submarines.
Beat that? How!? Thankfully for the Moonraker crew, there is no such word as “impossible.” They had been making the impossible possible for years! And now it was time for a new challenge. A challenge for which they were ready, willing, and able. Steeling themselves, and calling upon every scrap of talent and ability at their command—far beyond those of “mortal men”—the first page of the Moonraker script was studied and they were off!
At once, things started hopping on both sides of the English Channel. By the middle of August, 1978, director Lewis Gilbert had taken his director of photography Jean Tournier and his actors and started on their whirlwind location tour of four countries: France, Italy, Brazil, and Guatemala.
At the same time, production designer Ken Adam was constructing his usual array of glorious sets on nearly every soundstage France had to offer.
Meanwhile, miniature model master Derek Meddings and his staff had set up a top secret special effects shop at England’s Pinewood Studios. Within its sedate walls, they built entire fleets of the most advanced spaceships reality had to offer.
' These three units, working in harmony, conspired to make the most thrilling entertainment of the season—any season. Moonraker had officially begun!
The film opens with a breathtaking battle amongst the clouds. While intrepid stuntpeople—led by the experienced, extremely talented Bob Simmons, master of mayhem for many a bond film—jumped from planes, duplicating the freefalling escapades of Bond and his foes, the crew searched for a circus and an acrobatic family who could give life to the climax of 007’s first fight: Jaws’ landing amid the Big Top.
They finally settled on the amazing Traber Family. German circus performers. These high-flying relatives had already balanced bird-like above such awe-inspiring locales as Niagra Falls and Zugspitze Mountain, so tumbling in the wake of the gigantic Jaws hardly ruffled their feathers.
A slightly different problem was faced on location. In the movie, the dictatorial billionaire Drax makes his home in a glorious chateau next to a massive research center in the Mojave Desert of Southern California. But, for the film’s sake, those two establishments were filmed cities apart, thousands of miles from the West Coast of the United States!
For the labs and testing centers of Drax Industries, the Parisian National Center for Art and Culture was used. There, Bond first meets his lovely C.I.A. partner Holly Goodhead, working undercover in Drax’s employ.
Then, some eighty kilometers away, the magnificent Vaux-le-Vicomte—a lush seventeenth century mansion—was used as Drax’s American lair—a lair complete with almost priceless engravings, statues, and paintings. To show other facets of Drax’s vast estate, there was some additional filming at the nearby Guermantes Chateau.
For the next scene, where the beautiful Holly challenges 007’s stamina in the Drax centrifuge, the magic of Ken Adam was first utilized. The production designer had seen other centrifuge testing devices, but for Moonraker he decided to devise his own.
“I tried to give it an almost claw-like look, with a frightening atmosphere. It makes for a very exciting scene,” Mr. Adam says.
Photo: The "Bondola" takes form in the harbor just off St. Mark's Square. With a flick of a switch, the swift ship turns from a speedboat to a hovercraft!
He built it in eight weeks. Lewis Gilbert filmed on it for only two days, and then it gone! Incredible as it may seem, the magnificent centrifuge was but a minor set in comparison with the wonders to come!
Speaking of which, to give just an example of the care lavished on even the most trivial aspects of a 007 production, a short scene near the end of the film pictures the bedroom of a Russian general. For this set alone—which is on screen for mere seconds—art directors Max Douy and Charles Bishop painstakingly copied pictures of Catherine the Great’s bed as well as a solid silver-and-gold antique chest housed in a Leningrad museum. If these aren’t “special” special effects, we don’t know what are!
VENICE WHEN IT'S BREAKING
The next act of 007 prestidigitation appears in Venice, that romantic Italian town filled with canals, calm waters, and complacent tourists. But when Moonraker arrived, the quiet waters were stirred by incredible goings-on!
To film the soggy chase between Bond and a bunch of killers, three weeks of high-powered filming was necessary. Ken Adam worked his wonders once again by designing the “Bondola,” that great gondola-speedboat-hovercraft used by our hero. Specially built for the production, the graceful craft alarmed many sightseers when it suddenly rose from the water and drifted across St. Marks Square!
Effort of another kind was needed to give dimension to the scenes within the Venini Glass Works. The starting point for the marathon fight between Drax’s oriental minion Chang and 007, it was necessary for the two to stumble and crash into row after row of priceless crystal sculptures, destroying reams of them in the process.
Actually, those graceful pieces of art were created by British experts David Bayham and Roy Seers, who worked feverishly for months in a Paris workshop. Using a formula called Dow’s Resin—which is so temperamental that it cracks and breaks half the time it is handled, even by professionals—the designing duo worked up more than six hundred art objects to be destroyed by Bond and his opponent.
The climax of this selfsame fight is Chang’s fatal plunge from the famous St. Marks Clock Tower. The script called for the feisty villain to smash through the glass clock face. Nor surprisingly, Italian officials weren’t too hot on that idea! Thankfully, Ken Adam wasn’t too hot on the actual clock either. “It was not a very interesting interior from a filmic point of view,” he remembers. So he made it all a set, basically faithful to the original but flavored with his own sense of design. It was constructed complete with an actual antique clock mechanism imported from Strasborg.
The final shot of the battle, wherein Chang goes through the face, was filmed utilizing a special substance known as sugar glass, although his deadly drop to the street was actually filmed at the historical landmark. According to on-the-scene reports, director Gilbert was thus able to record on film the actual, very shocked expressions of many unprepared witnesses!
It is safe to say that Venice may never again be the same!
BRAZIL AND BOND
On January 4, 1979, the production descended on Rio de J aneiro. And when we say descended, we mean descended! Twenty truckloads of equipment, over two hundred extras and crew members, and other odds-and-ends landed even before Roger Moore arrived to do some descending of his own.
The star’s descent was far and away the most perilous of them all, in that Bond was required to slide down a cable car wire from the 1,230 foot summit of Sugar Loaf Mountain!
Not surprisingly, the production demanded that a stunt actor handle the actual dangling, which one did, much to the amazement of even producer Broccoli himself. “We begged him to at least have a wire supporting him,” Broccoli recalls, “but the stuntman said no, the wire would be in his way. So he ‘slips’ and grabs onto the car—not with two hands, which is what he was supposed to do, but with one! We were all scared to death watching him.” However, most viewers will agree that every ounce of sweat, every inch of dedication shows on the screen.
Since the stunt actor was a master of his craft, 007 ‘lived’ to perform his next breathtaking exploit. Specifically, it concerned the awe-inspiring Iguacu Falls, where Bond hang-glides away from three boats filled with killers, then tracks a seductively draped beauty across the jungle.
This one sequence was not only filmed on location, but in three other unrelated locales as well! To create the proper effect, filming jumped from the falls to the Brazil-Argentina border to the Mayan city of Tikal in North Guatemala, then all the way back to the outskirts of Paris.
And all of this, every scene previously mentioned, every stunt, every foot of film, every extra effort, all leads to the wildest 007 finale ever conceived. Bond hops from place to place to root out Drax’s evil plot. A plot that leads him far, FAR out!
Photo: Jaws pulls his ripcord in vain, but we see a rare special effects shot of a rear screen projection: one of the very few used in Moonraker's incredible pre-credit sky-diving sequence!
Photo: Roger Moore takes a stab at the camera, all in the name of action. Later, this shot will be edited with other fight footage to create a pulse pounding scene on screen.
Photo: The sleek Q-Craft not only comes complete with explosive mines and torpedoes, but converts into a sky-flying hang-glider as well.
OF SPACE STATIONS AND SPACE SHUTTLES
The time had come. After months of winging around the world, capturing on film the greatest action scenes ever staged, the crew settled down to put together the most spectacular sequence of all: an exactingly, painstakingly researched, scientifically accurate, eye-filling spectacle of a fight whose resolution will determine the fate of the world—a fight which takes place in orbit just beyond the earth’s atmosphere.
From the start of production, Derek Meddings and his crew had been working with Moonraker Shuttle models that measured from mere centimeters to many meters long. These miniature Space Shuttle exteriors are almost identical to the NASA Shuttle now being final-tested for a launching within the next few months.
In addition, the colossal inside of the “007 Stage” was swathed in black curtains so that realistic star fields could be created behind the amazing Space Station designed by Ken Adam. All of this was carefully overviewed by Moonraker “Space Consultant” Eric Burgess, cofounder of the British Interplanetary Society and author of fifteen books on the subject of space and technology.
Besides the various Shuttle models, there was also Ken Adam’s designs for both the interior and exterior of Drax’s ultimate dream: the Station in Space.
The exterior model, measuring a full fourteen feet across and suspended from the high ceiling of the 007 Stage, spent most of its screen life under the scrutiny of Derek Meddings’ special effects cameras. Winding, turning, slowly arcing, and just hovering majestically, its ethereal beauty was captured on film by Meddings’ crew.
The interiors of the station were something else again. It all started with Ken Adam’s initial concept drawing. Once that was agreed upon, and enough room was found to house it at a French studio, Adam went ahead and built an “art dimensional model,” to see what the set would look like in three dimensions. Once he and his crew had developed the design and model to its conclusion, this was transferred to building plans and construction was begun.
Easier planned than put up! The final product seen on the screen was the sum total of the contribution of 220 workers, all of whom spent eight weeks just BUILDING! That’s a numbing sum of 222,000 hours, which is roughly equivalent to one person’s entire lifetime!
When complete, the Command Satellite measured 108 feet wide, forty-seven feet high, and was tri-leveled, including a space telescope and a laser cannon. To put it up, the set construction workers used up one hundred tons of metal, two tons of nails, and ten thousand feet of wood!
All in all, there was enough timber employed to build forty homes. The electronic equipment utilized could equip six Concorde SSTs, and the amount of electricity consumed could illuminate a house for a century. (Nor did the precision work stop after photography had been completed! The magnificent set had to be knocked down, and in typical Bond fashion destruction was worked by explosives—$20,000 worth, planted over a period of weeks. But we get ahead of ourselves—)
What went on in this space set has already become one of the most talked-about sequences in recent film history. James Bond takes on Drax, while marines from earth handle the madman’s minions. Once again, the statistics become staggering.
“To film the battle in space,” Eric Burgess explains, “the visual effects camera-person, Paul Wilson, used ninety-six incandescent ten-watt lamps. The 007 Stage was used, which is big enough to have mists form within its walls! Sixty thousand dollars of black velvet shrouded the Pinewood stages. Also floors, steps, and nearly everything else was painted black to prevent scattered light. In space fantasies, the robots and aliens can do almost anything and get away with it. But Moonraker's astronauts had to behave like the real-life astronauts we have seen on our TVs.”
No effort was spared to guarantee this realism. Even the Moonraker Shuttle countdowns used in the film are based on actual NASA countdowns for the real Space Shuttle. Every aspect of War in Space was considered and dealt with, even down to the sticky problem of sound in space.
“A concession was made to audience expectation,” Burgess admits. ‘‘Although sound cannot be transmitted through the vacuum of space, action without sound would seem very slow and tedious. It was decided, therefore, to use sound effects as well as a musical soundtrack.”
But no such concession was made in the realism depicted elsewhere. Real-life laser beams were integrated with models and optically produced lasers. These simulated beams were painstakingly inserted into the film frame-by-frame. This completed, there was only the “big boom” left to be worked.
Photo: It's a set-up! The collected cast and crew take a break amid just one of Jen Adam's gigantic sets. This "Command Satellite" set was the biggest and most expensive Moonraker had to offer.
Experts in demolition, special effects, and stunts were gathered on the Command Satellite set to make certain that the brutal explosions, peppered with one-on-one human activity, were sufficiently planned so that no one was hurt nor control over the proceedings ever surrendered. Even so, mistakes will happen ... as producer Broccoli aptly illustrates.
“We had one fire on a sound stage even before we built anything,” he explains, “and we lost some time and money there. And then one of the space stations caught fire while we were trying to blow it up. And then after that was put out, I suggested we post a guard to make sure another fire didn’t start during the night. They said, ‘Yes, okay.’ And sure enough, the bloody thing caught fire in the middle of the night. Almost burned down again . . . with our set in it!” Merrily thereafter, the blasts rolled along, thrilling both cast and crew alike. But back at Pinewood, Derek Meddings did not have the luxury of simply planting explosives and blowing his models sky-high. His problem was twofold. First, he was working with miniature sets, which called for miniature explosions to keep things in scale. And second, a high-powered blast in space looks different than a high powered blast inside a studio!
“Explosions in space are difficult to simulate,” Mr. Burgess agrees. “Special effect explosions have been perfected, but these explosions usually produce smoke which rises—and they often give rise to flames, both of which are unrealistic and unwanted in space scenes.
“So Derek Meddings used several new techniques. These included a frame-by-frame expanding light shell technique and the use of chemical bombs dropped from high towers at night and shot from below. Spacemen and spacecraft were also impacted by plastic shells that exploded into expanding balls of glittering debris. These ‘shells’ were fired from specially designed automatic rifles and a machine gun!” After Drax’s space station had been exploded into eternity, there was still the final laser sequence to film. The optical effects people went to work, using the laser techniques described above and making it possible for Bond to shoot down Drax’s death-dealing globes.
Photo: It's a set-up! The collected cast and crew take a break amid just one of Ken Adam's gigantic sets. This "Command Satellite" set was the biggest and most expensive Moonraker had to offer.
And with one of Derek Meddings’ model Moonrakers drifting slowly into an optically created rising sun, around a slowly revolving mockup of earth, we once again bid adieu to the mighty, magnificent James Bond, secret agent 007.
Roger Moore finished his work by quipping wittily, “Back to the labour exchange,” while director Lewis Gilbert admitted to being “totally exhausted.’’
And why not? As Eric Burgess puts it, “All our problems were compounded because the model shots had to be integrated with live action shots in full scale sections of the space structures. Model shooting took place at Pinewood in England. Full scale sets were in France.
“This required continuous contact between London and Paris, and, indeed, many scenes in the film ultimately turned out to be a combination of model shots, live action on full scale sets, location shooting, front and back projection with models, and front and back projection with live actors and actresses.”
(Note: These last two processes involve inserting models or performers into the action by photographing them before screens on which prefilmed action is projected.)
While we have praised the model, set, and optical crews, let us not forget the rest of the physical labor which helped make Moonraker the mind-boggling spectacle it is! The engineers who built the Q-Craft and the incredible gadgets employed by Bond and Holly. The brisk editing and tremendous sound work, sound effects, and post-production dubbing. The ever-wonderful opening title sequence devised and implemented by Maurice Binder with his usual panache. Even the stylish costumes and makeup.
The final price tag for all this rampant genius? Over twenty-five million dollars. And it is all there for you to see at any one of the over six hundred theatres at which Moonraker is playing nationwide. We think you’ll agree that every penny was worth it.
Hey, James Bond, Albert Broccoli, and Company! How the heck are you going to top this one ... next time?
Photo: James Bond, alias secret agent 007, examines Q's neatest little device. Seemingly just a fashionable wrist-band, it doubles as a dart gun, capable of being fired with a flick of the wrist. Q even supplies the secret agent with ten armor-piercing projectiles as well as ten poison dipped tips, each able to kill in thirty seconds. Again and again, 007 is able to use them just in the nick of time. But that is not the only small gadget Moonraker has to offer. A hypodermic ballpoint pen, a cigarette lighter that doubles as a camera, and a cigarette case that doubles as an X-ray machine also prove to be very handy.
The fanciful folk who bring you this Moonraker Magazine are some of the same people who produce the first and best genre publication, FAMOUS MONSTERS. This twenty-one year old ground-breaker is greatly loved, so the stars of the new 007 epic have a personal message for their faithful Bond watchers and "FM" readers.
The chief creative talents behind one of the biggest hits in recent film history:
DIRECTOR Lewis Gilbert, who has made thirty films in as many years, brings to Moonraker the greatest qualifications imaginable: he had previously helmed You Only Live Twice as well as the last and most successful picture in the series The Spy Who Loved Me. How does he feel about his third and most dramatic tilt with the immortal secret agent? He is both thrilled and exhausted—not to mention being somewhat staggered by the size of the production. “When I first directed films,” says he, 111 used to make an entire feature for less than the Moonraker telephone bill!” Born in London in 1320, Gilbert’s first brush with the industry was as a child actor in silent films, to which he brought a background steeped in vaudeville. Moving behind the camera, he later became b third assistant director, rising to full directorship in 1945 on THE LITTLE BALLERINA. Among his most popular non-Bond productions are ALFIE, DAMN THE DEFIANT, and SINK THE BISMARK. Gilbert lives in Monaco with his wife, former actress Hylda Lawrence. They have two sons, John  and Stephen [25).
Photo: Lewis Gilbert (above) really sinks his teeth into directing, showing Jaws the way to sink his metal molars into a steel cable.
PRODUCTION DESIGNER Ken Adam reveals that his spectacular sets for Moonraker came about as most of his ideas develop: “I just start to scribble and hope that something happens.” What “happens” is pure movie magic, sets like the three-tiered space station interior which take the breath away. He has seven James Bond films to his credit—including Dr. No— of which Moonraker is inarguably the most impressive.
Born in Berlin in 1921, Adam studied architecture at London University, later working for an engineering firm. After serving as an RAF pilot during WWII, he was assistant art director for seven films, including the action classic CAPTAIN HORATIO HORN-BLOWER, becoming a full-fledged art director on AROUND THE WORLD IN EIGHTY DAYS. Soon thereafter he graduated to production designer and has, to his credit, such pictures as DR. STRANGELOVE, CHITTY CHITTY BANG BANG, GOODBYE MR. CHIPS, and BARRY LYNDON—for which he won an Oscar. Adam has recently begun doing design work for opera, of which he hopes to do more. This man, who turns doodles to legend, lives in London with his wife Letizia.
COMPOSER John Barry, who wrote the scores for eight Bond films, was born in York, England in 1933. His career seemed predestined: he began taking music lessons at the age of nine, concurrently helping to run the eight movie theatres owned by his father. After serving in dance and military bands, the young man formed the John Barry Seven in the mid-fifties, and composed his first film score, for BEAT GIRL, in 1959. In addition to the Bond pictures, Barry has scored KING RAT, KING KONG, THE DEEP, and MIDNIGHT COWBOY, both THE LION IN WINTER and BORN FREE have won him Academy Awards. Barry describes the Moonraker score as having a "larger, more symphonic style in terms of orchestration” than any other in the Bond series.
DIRECTOR OF PHOTOGRAPHY Jean Tournier was born in the French town of Toulon in 1926. After studying at the School of Photography in Paris from 1948-1950, he went to work as an assistant cameraperson. He became a director of photography in 1959. In addition to Moonraker, his credits include LES MISERABLES and THE TRAIN.
SPECIAL SPACE ADVISOR Eric Burgess had one of the most critical jobs on Moonraker: his assignment was to see that everything was authentic looking. To this end he worked in close conjunction with Ken Adam as well as the special effects team at England’s Pinewood studios. As Burgess points out, while “the Bond films have always stepped slightly ahead of technology,” today’s filmgoer is too “sophisticated for a filmmaker to stint on facts. He applauds producer Cubby Broccoli’s insistence on realism, and worked hard to achieve it. Born in Manchester, England in 1920, Burgess is proficient in mathematics, physics, and chemistry, and has written fifteen books on these subjects.
SCREENWRITER Christopher Wood says of his work on Moonraker, “James Bond may have a Licence To Kill, but I have the license to let my imagination run wild.” And wild it runs in Wood’s second Bond screenplay, the first one having been The Spy Who Loved Me, co-authored with Richard Maibaum. Born in South London in 1936, Wood graduated from Cambridge University with a degree in Economics and Law. After a stint in the army, he became a copywriter for a London advertising agency. Then, one day, he decided to write a series of novels based on the theme of personal “Confessions11. These proved to be so successful that Wood quit his job to settle in a French farmhouse some one hundred miles from Bordeaux, and spend his time writing. He has now penned over forty books, many of them under pseudonyms such as Rosie Dixon and Timothy Lea. Among these, not surprisingly, are novelizations of The Spy Who Loved Me and Moonraker. Wood, along with his wife and three children, still lives in the farmhouse, which he has dubbed “the ruin.”
THE BOND BOMBSHELLS
An important and not unpleasurable part of any James Bond film is the procession of 007’s lovely and loving ladies. Whether they’re falling head-over-heels for the suave secret agent — literally, in the weightlessness of MOONEAKER’s space settings — or trying to do him in they provide breath and breadth to the high velocity adventures.
Regarding this hallowed Bondian tradition, femme star Lois Chiles admitted that when she accepted the part of Holly Goodhead, “I knew that whatever else the role might require that I bare, it would not be my soul.” And while feminists might argue that James Bond uses women as sex objects, the feeling is both mutual and done in the name of fun!
Topping the list of Moonraker’s starring — and, as Lewis Gilbert describes them, “uplifting”—starlets is Lizzie Warville.
Twenty-one years of age, this top model plays the mistress to the Russian General Gogol (Walter Gotell).
“It’s not a very big part,” Lizzie realizes, “but it’s a start in acting. I mean, even Catherine the Great had to start somewhere, didn’t she?”
Another prominent young actress is twenty-eight year old former stewardess Blanche Ravalec. A short, blonde, blue-eyed lass, she was happy to play Jaws’ girl friend Dolly — just as long as he didn’t try to give her a hickey.
Rounding out the roster of ravishing damoiselles are nineteen year old Polish lovely Irka Bockenko, who plays the “Blonde Beauty,” twenty-seven year old Californian Anne Lonnberg as the “Museum Guide,” and the al luring lineup known as “Drax’s Girls”: twenty-two year old model Christina Hui; twenty-three year old Beatrice Libert, a former Miss Belgium; Caribbean-born Nicaise Jean Louis; red-haired Francoise Gayat from Paris; twenty-five year old Chichinou Kaeppler; and ex-medical student Catherine Serre.
With such a selection of femininity lurking just beyond our atmosphere, who can blame Mr. Bond for taking to orbit?
Photo: A group like this even could make a Mayan Sphinx smile! It's the glorious, glowing, glossy, graceful, glimmering, glittering, gals of Moonraker! From the left, Chichinou Kaeppler, Francoise Gayat, Anne Lonnberg, Nicaise Jean Louis, Beatrice Libert, Catherine Serre, Christina Hui and the gorgeous Irka Bochenko (at right).
THE END ...BUT JAMES BOND WILL BE BACK IN-“For Your Eyes Only”
Photo: A Bond a day keeps the danger away—and even pretty stewardesses cannot resist a little bussing in a private plane.
Photo: Bond has a little time on his hands ... not to mention on the floor and all over St. Mark's Square. Do not ask for whom the clock chimes. It chimes for Chang!
Photo: The villains veer after Bond at 'break-boat' speed, giving lolling lovers a quick slice of spy life. A river rendezvous becomes a sinking, soggy experience!
SPACE NOW BELONGS TO 007
Moonraker The most exciting JAMES BOND thriller ever!
Moonraker '79 MAGAZINE CREATED & PUBLISHED BY WARREN PUBLISHING COMPANY, A DIVISION OF WARREN COMMUNICATIONS CORPORATION. EDITORIAL, BUSINESS & SUBSCRIPTION OFFICES AT 145 E. 32ND STREET, NEW YORK, N.Y. 10016
PRINTED IN U.S.A. COPYRIGHT © EON PRODUCTIONS LTD. GLIDROSE PUBLICATIONS LTD. 1979. All PHOTOS RELATING TO THE MOTION PICTURE Moonraker ARE COPYRIGHTED © 1979 BY UNITED ARTISTS CORPORATION. ALL RIGHTS RESERVED.