The James Bond 007 Dossier

Bond, James Bond.

28. July 2014 05:22
by m

Taschen James Bond Special

28. July 2014 05:22 by m | 0 Comments

When I saw this magazine on Ebay, I thought it must be a German magazine, but it turns out to be more of a product catalogue for Taschen Books, publisher of The James Bond Archives by , a huge coffee table book celebrating fifty years of James Bond 007 films, including 1967s Casino Royale Spoof, and Never Say Never AgainNever Say Never Again. This issue features some photographs and excerpts from Duncan's book.

Sharp eyed readers may notice that it contains the quote from Ian Fleming, that Timothy Dalton did his best to recall on Wogan when describing where he turned for inspiration in his portrayal of James Bond:

"Cubby's wife, Dana, was down in the basement of the office the other day and pulled out some old cartons full of, you know, old dusty papers, and among them were some unseen Fleming notes. He described Bond as a 'blunt instrument of Government, as a man who is dangerous, ruthless, morbid, relentless, tenacious, a man who would sometimes - determined to get on with his job - but who would sometimes - if he saw a woman who was in danger, he would sometimes rescue her and then again sometimes he wouldn't." 
- Timothy Dalton on Wogan, approx 32 mins 50 secs in.

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Forever Bond

Dear Bookworms,

Greetings and welcome to the Winter 2012 TASCHEN Magazine. There’s no keeping it a secret: the spirit of Bond, James Bond, is with us this season. Having cracked the code to the 007 vaults in London, our film editor Paul Duncan got a license to study from EON Productions, the keepers of the Bond flame. The resulting book is packed with countless original documents and all kinds of fascinating memorabilia; telling the story of 50 years of Bond on the big screen, it gives you the feeling of having joined Connery, Craig, et al. on set.

Photo: Bond’s Berliner: legendary set designer Ken Adam in front of his house in London. I’m very honored that Sir Kenneth (who, at 91, swims a mile every day) agreed to have two of his awesome designs, from GoldfingerGoldfinger and You Only Live TwiceYou Only Live Twice, printed for our limited edition of the Bond book, see page 40.

Celebrating the 50th anniversary of the most successful and longest running movie franchise in cinema history with unprecedented access to the Bond archives and plenty of never-before-seen material to satisfy even the most die hard fans.

The Gold Standard By Paul Duncan

The James Bond Archives is the story of the making of Dr. NoDr. No, and the 22 movies that followed over the past 50 years, told by the people who were there, and illustrated with rare and unseen photographs and documents found in the EON andMGMarchives. It is also a tribute to the movie legacy that Cubby Broccoli and Harry Saltzman began, and that Cubby's stepson Michael G. Wilson and daughter Barbara Broccoli have continued and evolved Together these four producers have an incredible track record that no other production company can match—22 movies over 50 years and every one of them made a profit. It’s no wonder that the James Bond franchise is still considered the gold standard by which other movie franchises have to be compared.

The following extracts from the Dr. NoDr. No oral history in the book show how the producers adapted James Bond for the cinema after United Artists had agreed to finance the production, and the experiences of Ursula Andress while shooting on location in Jamaica.

Dr. NoDr. No is a Monkey!

Paul Duncan United Artists announced the deal with Broccoli and Saltzman on June 29,1961. Although Variety had reported that either Dr. NoDr. No or Diamonds Are ForeverDiamonds Are Forever would be the first novel to be filmed featuring the “British Mickey Spillane,” the producers wanted to film the most recent and most successful novel, ThunderballThunderball the rights to which they had been led to believe would be available soon. However, United Artists had selected Dr. NoDr. No to be the first film.

David Picker [United Artists Executive]

It was the cheapest one to make. Harry and Cubby pushed for ThunderballThunderball, but it was clear that since we were only prepared to risk a certain amount of money on these movies. Dr. NoDr. No was the one to do first.

Paul Duncan: Harry and Cubby formed Peak Productions, a Swiss company, to hold the rights to the films and generate finance, and on July 21 commissioned Wolf Mankowitz to write the script for the first film, Dr. NoDr. No.

Albert R “Cubby” Broccoli, Harry and I decided that , since Wolf Mankowitz was a fine writer and had acted as the marriage broker in our partnership, he deserved to have a crack at the screenplay.

Paul Duncan: Richard Maibaum, a Hollywood scriptwriter and former producer who had worked on seven of the Warwick films, was hired to write the second film, ThunderballThunderball. Harry and Cubby also created EON Productions to produce the films, and hired Stanley Sopel as associate producer, a role he had filled at Warwick Films from 1955 through 1960.

Stanley Sopel: It was just Saltzman, and Broccoli, and me, and a secretary, and a desk, and two chairs.

Paul Duncan: Wolf Mankowitz delivered a 102-page first draft script, which generally followed the novel, from Bond’s introduction on the firing range With Major Boothroyd, to Bond’s ordeal in the ventilation shaft at the hands of Dr. NoDr. No, as well as the final confrontation with a giant octopus as it attacks a tied-up Honey Ryder. The producers were aware that some elements, like the giant octopus, would have been difficult to film convincingly. Meanwhile, Richard Maibaum had completed his script for ThunderballThunderball on August 18.

Opposite: Hard work on the beach—Terence Young is behind the camera directing Ursula Andress and Sean Connery on Dr. NoDr. No (1962).

Top: This unused poster design piays upon the mystery surrounding Dr. NoDr. No.

Left: Sean felt protective towards Ursula and helped her to relax on set. She recalls, “I realiy don’t know how I acted in that film, because I was deadly scared."

Maibamn had spotted plot weaknesses in the novel and repaired them, making it a stronger script. Encouraged, the producers prepared a script breakdown on August 22, sorting scenes into 61 shooting days, composed of six weeks on location in the British West Indies (with a concurrent underwater shoot in the Bahamas), and five weeks of interiors at Shepperton Studios. If they started on October 28, hitting their agreed shooting deadline, the film would be finished by February. The rights to ThunderballThunderball were still in dispute. Producer Kevin McClory and screenwriter Jack Whittingham had originally worked with Ian Fleming to write ThunderballThunderball as a film script in 1959, but it had failed to find financing. Fleming subsequently used this script as the basis for the novel, and McClory was pursuing his rights to the story—Whittingham having assigned all his rights to McClory. McClory had tried and failed to stop publication of the novel in March but the judge said McClory could still go ahead and sue. Harry and Cubby met with McClory in their office, to see if the film rights would become free any time soon. When it became clear that McClory’s litigation would take some time, they put ThunderballThunderball on hold and concentrated their attention on Dr. NoDr. No.

Cubby Broccoli: The novel centered on what seemed like science fiction at the time but is highly feasible today: an arch villain’s attempt to topple US space weapons by the use of sophisticated electronics. As Dr. NoDr. No was going to be 007’s first, and most fiendish, adversary, the situation called for a character of menacing dimensions.

Top: The first edition of GoldfingerGoldfinger, published March 23,1959, in the UK by Jonathan Cape, with cover artwork by Richard Chopping. GoldfingerGoldfinger book cover © 1959, Jonathan Cape

Right: GoldfingerGoldfinger (Gert Frobe) is angry that Bond has forced him to lose to Simmons (Austin Willis). The cabana set was built at Pinewood using props shipped over from Miami.

This was the brief which Wolf and his co-writer, Dick Maibamn, took away with them. They came back with a treatment which, since I love both of these guys, I will simply say was unacceptable. They came over to the office and, as the four of us sat around reading the pages, I had that sinking feeling that my two friends, the geniuses, had blown this one. I searched through the lines for our definitive villain and couldn’t find him. Understandably, since they had decided to make Dr. NoDr. No a monkey. I repeat: a monkey.

Richard Maibaum: When Wolf and I began working on the script, we decided that Fleming’s Dr. NoDr. No was the most ludicrous character in the world. He was just Fu Manchu with two steel hooks. It was 1961, and we felt that audiences wouldn’t stand for that kind of stuff any more. So, bright boys that we were, we decided that there would be no Dr. NoDr. No. There would be a villain who always had a little marmoset monkey sitting on his shoulder, and the monkey would be Dr. NoDr. No. Wolf and I thought it was marvelous, and we showed it to Cubby and Harry. Cubby was outraged, in his usual good-natured way. “You’ve got to throw the whole damn thing out. No monkey, d’you hear? It’s got to be the way the book is!” He made a very strong point about it. Wolf withdrew: he just couldn’t take it. Now I think about it, it was just a temporary collaborators’ aberration. But Cubby wasn’t going to forget it. Even now, 15 films later, if we got into an argument - we argued all the time — he hit me with “Dr. NoDr. No IS A MONKEY!”, which I can’t argue with, since he had the treatment on hand to prove it!

“The Secret Service should be presented as a tough, modern organization in which men may dress more casually than they do in the FBI. Above all they should not slap each other on the back or call each other ‘old boy.’”
—Ian Fleming

Paul Duncan: The 43-page treatment, dated September 7, 1961, uses only a few superficial elements from the novel: Honey Ryder (a Chinese girl), Felix Leiter (Bond’s CIA pal), and the Jamaican setting. The villain of the piece is Buckfield, an arms smuggler, who plans to stuff a ship full of explosives and blow it up in the Panama Canal under the Cuban flag, thus creating a profitable demand for his wares. Although the storyline was rejected, the writers were trying to utilize the real-world tension between East and West after the disaster of the Bay of Pigs invasion early in 1961, and anticipated the Cuban missile crisis, which started in October the following year and found the world on the brink of nuclear- war. However, the opening section of the treatment—the death of Strangways, the radio room, Bond and Sylvia at the casino, M giving Bond his assignment, Bond and Sylvia in Bond’s apartment- is the final film in embryo. Maibamn agreed to work on the script for a further eight weeks, resulting in a revised treatment on September 25, and then a 133-page draft script on October 3, which was a step in the right direction, but still not the novel. Buckfield was now an underling to Dr. NoDr. No, but the master plan remained, to blow up the Panama Canal so as to provoke a war between America and Russia. Meanwhile; the producers had transferred all the rights from Peak Productions to their new company, Danjaq, on September 11. The name combined the first names of the producers’ wives, Dana and Jacqueline.

“To be candid, all the British actors I had interviewed, while very talented, lacked the degree of masculinity Bond demanded. To put it in the vernacular of our profession: Sean had the balls for the part.”
—Cubby Broccoli

Cubby Broccoli: Ian Fleming attended several of our meetings well before the picture started. It was good having him around. He never interfered in any way. There was no agreement giving him approval of the scripts, but we let him see them just the same, partly as a courtesy but mainly because we valued his expertise. After one of our meetings, Ian sent me a fascinating memorandum which must be the definitive thesis on the way James Bond should be structured and played.

Ian Fleming: James Bond is a blunt instrument wielded by a Government Department. He is quiet, hard, ruthless, sardonic, fatalistic. In his relationships with women he shows the same qualities as he does in his job, but he has a certain gentleness with them and if they get into trouble he is sometimes prepared to sacrifice his life to rescue them. But not always, and certainly not if it interferes with his job. He likes gambling, golf, and fast motorcars.

Cubby Broccoli: So, incidentally, did Ian - and guns, espionage, and beautiful women, particularly in the uniform of the WRNS. He’d have given anything, I imagine, to have been James Bond. The notes go on:

Ian Fleming: Neither Bond nor his Chief, M, should initially endear themselves to the audience. They are tough, uncompromising men and so are the people who work for and with them.


Underneath the Mango Tree

Ursula Andress: I flew to Jamaica alone. When I got there, I had no wardrobe, so we had to get the bikini right away, and a little Chinese dress.

Paul Duncan: On January 31, 1962, Cubby cabled David Picker in New York to have somebody pick up three white bikinis from Saks Fifth Avenue and send them to Tessa Prendergast (formerly Welborn) in Jamaica.

Ursula Andress: A friend of mine from Rome, Tessa Prendergast, had a boutique in Jamaica and she was also making dresses. So we made the bikini together.

Paul Duncan: They acted swiftly because on February 2 Ursula and Sean filmed their first scene together, the last scene in the movie, where they kiss in the boat. The close-up of the kiss was shot later at Pinewood.

Ursula Andress: We were a small production, and it was like a family that got together to do a movie. We were every day together. We had lunch together, dinner together, and the next morning worked together. It was fabulous.

Right: Paul Rabiger applies gold paint to Shirley Eaton. The process took about an hour and a half. Opposite: Filming on location at the Furka Pass, Switzerland. James Bond (Sean Connery) and his iconic Aston Martin DB5. Ken Adam remembers, “With the success of GoldfingerGoldfinger (1964), the sales of Aston Martin went up by 60 percent. After that, we never had any more problems getting cars from manufacturers.

“Full of brilliantly reproduced images, bundles of rarities and every bit of Bond knowledge I could ever hope to hold in my head.” —Bleeding Cool, London

Paul Duncan: On February 6. the production moved its base of operations IVom Kingston to the Carib Ocho Rios Hotel on the north side of the island.

Monty Norman: I did most of the West Indian music. For instance, when Ursula Andress comes out of the water, singing this “Underneath the Mango Tree” number: “Underneat de mango tree, me honey and me come watch for de moon. Underneat de mango tree, me honey and me make boon-oon-oop soon.” I asked several of my Jamaican friends what making love was in some kind of patois, and they suggested “boon-oon-oop” and that was perfect for the song. Although I must admit now, I’m still not sure whether they were having me on or not because I’ve never heard anybody use it.

“They were lucky they chose me, because I was sporty; otherwise, if I had been a normal delicate person, I think I wouldn’t have survived what they made me do.”
—Ursula Andress

Ursula Andress: Sean and I fought a little bit, trying to get the record player, and trying to learn “Underneath the Mango Tree." In Jamaica, there were no windows, so you could get into the room from the balcony. He used to take the record player away from me, and I had to go steal it back. He didn’t need the practice because he sings much better than I do. I can’t carry a time.

I was supposed to be very tanned, because Honey Ryder was living in Jamaica, a diver looking for shells, but I was snow white, so l had to get makeup from head to the toe. John O’Gorman was the makeup man, a lovely man, so he said, “Okay, take your clothes off.” So I had to stand there all naked in the room, and he began with this pancake, going from top to bottom, covering me in this dark makeup. Then every other second, somebody was knocking on the door. And John would go, “Come in.” And here I am all nude. They came with the breakfast tray. Then after a few minutes, again knocking, another tray. Finally, when they were finished, I think we had 20 trays of breakfast, because everybody wanted to come in to watch me naked.

Sean would come into makeup and there was no room from the door to his makeup chair, because it was full of trays. He’d say, “Well, we’ve had a few visitors today.” I got there every day at six o’clock in the morning, and they were always waiting.

The role for me was easy, because I used to do competition swimming, so the sea was no problem. Running around up and down the hills, through the mud, through this marsh was very easy for me. The difficulty was when I had to speak. I used to be so scared, but Sean helped me a lot and was adorable to me.

Just before shooting my entrance in the movie, we had to run along the beach away from Dr. NoDr. No’s boat, which is shooting at us. We had to run, and I slipped, and tore open the side of my leg on some coral reef. Coral takes a long time to heal because it’s poisonous. They slapped some more makeup over my bloody leg, and then we filmed the scene where Sean is hiding behind the palm free, and I’m singing “Underneath the Mango Tree.” I remember this was such a big thing, and I remember how many times I had to shoot tills “Underneath the Mango Tree.”

If you look at some of the photographs, you can see some of the redness on the leg.

Terence Young: I was shooting the scene with Honeychile Ryder coming out of the water, and I saw some people ruin my shot, walking down the beach towards me. We waved at them and screamed, “Lie down, you bustards!” They all lay down, and we shot the scene, and we forgot about them. Half an hour later Clive Reed said, “Whatever happened to those geezers on the beach?” and I said, “You’d better go see.”

He came back with Ian Fleming, Noel Coward, Stephen Spender, the poet, and Peter Cornell, the critic. Those Were the four; it was quite a bridge game. That was the first time Ian came on a Bond set.

James Bond films © 1962-2012 Danjaq, LLC and United Artists Corporation. All rights reserved.

Top: When Silva (Javier Bardem) escapes in SkyfallSkyfall (2012), Daniel Craig alias Bond chases him through the London Underground.

Left: This scene from Diamonds Are ForeverDiamonds Are Forever (1971) was shot at Elrod House on Southridge Drive, a distinctive, futuristic-looking building, designed by John Lautner, that doubled as the home of reclusive industrialist Willard Whyte (Jimmy Dean). Deadly assassins Bambi (Lola Larson) and Thumper (Trina Parks) were originally envisioned as men.

Opposite: The American influence: in Live And Let DieLive And Let Die (1973), Bond does not brandish a Walther PPK, but a Smith & Wesson Magnum, to rescue Solitaire (Jane Seymour). Though there was a great deal of pressure on him, Roger Moore settled quickly into the role, showing the effortless.

Made with unrestricted access to the Bond archives

This XL-tome recounts the entire history of James Bond in words and pictures, including all the iconic images that people love as well as material that has never been published before: over a thousand photos, plus storyboards, production designs, technical drawings, production documents, and more!

Photo: Derek Meddings puts the finishing touches to his Siberian miniature. GoldeneyeGoldeneye (1995) was the special-effects maestro’s last film.

The Golden Collector’s Edition

Signed by Daniel Craig and with prints of original artworks from Sir Ken Adam, the man who conceived the legendary 1960s and 1970s Bond sets. Limited to 500 numbered copies, signed by Daniel Craig With an archival, museum-quality print signed by legendary Bond set designer Sir Ken Adam

Golden Edition No. 1-250

-    Includes a print of a set design drawing for GoldfingerGoldfinger (1964).

Print size: 42 x 80 cm (16.6 x 31.4 in.), frame not included

Golden Edition No. 251-500

-    Includes a print of a set design drawing for You Only Live TwiceYou Only Live Twice (1967).

Print size: 42 x 80 cm (16,6 x 31.4 in.), frame not included

Bound in full leather with gold finish and gilded edges

Shaken, not stirred

The ultimate book on all things Bond

To celebrate 50 years of this innovative franchise, EON Productions opened their archives of photos, designs, storyboards, and production materials to editor Paul Duncan, who spent two years researching over one million images and 100 filing cabinets of documentation.

Also included are behind the scenes stories from the people who were there: producers, directors, actors, screenwriters, production designers, special effects technicians, stuntmen, and other crew members.

The result is the most complete account of the making of the series, covering every James Bond film ever made, beginning with Dr. NoDr. No (1962) and ending with the upcoming SkyfallSkyfall (2012), including the spoof Casino RoyaleCasino Royale (1967) and Never Say Never AgainNever Say Never Again (1983).

Special bonus included with the first print run of the book only: an original strip of a half second of film from Dr. NoDr. No

XL Format

The James Bond Archives Hardcover with film strip, 41.1 x 30 cm (16.2 x 11.8 in.), 600 pp.

$ 200 /€ 150/£ 135

Shaken, not stirred

To celebrate 50 years of this innovative franchise, EON Productions opened their archives of photos, designs, storyboards, and production materials to editor Paul Duncan, who spent two years researching over one million images and 100 filing cabinets of documentation.

Also included are behind the scenes stories from the people who were there: producers, directors, actors, screenwriters, production designers, special effects technicians, stuntmen, and other crew members.

The result is the most complete account of the making of the series, covering every James Bond film ever made, beginning with Dr. NoDr. No (1962) and ending with the upcoming SkyfallSkyfall (2012), including the spoof Casino RoyaleCasino Royale (1967) and Never Say Never AgainNever Say Never Again (1983).

Special bonus included with the first print run of the book only: an original strip of a half second of film from Dr. NoDr. No

[Source: Taschen, winter 2012, P 1-3, 28-41]

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