Goldeneye The Official Movie Souvenir Magazine
PIERCE BROSNAN - James Bond 007
With a grand tradition to follow, the latest and much anticipated version of Agent 007 is set to forge his way with his own version of the super-spy. The name is Brosnan, Pierce Brosnan.
In Ian Fleming's world, You Only Live Twice — and that's enough for Pierce Brosnan. Nearly ten years ago. 007 producer Albert 'Cubby' Broccoli tapped Brosnan as the next James Bond, to replace Roger Moore. But once NBC witnessed the publicity whirlwind that arose from the announcement, the web decided to take advantage: though it had already cancelled Brosnan's Remington Steele series, it suddenly renewed the show for another year and forced Brosnan to return to work. With Brosnan indisposed, Timothy Dalton stepped in as Bond.
Brosnan was convinced he had missed his chance. "The fact that it should come back is remarkable," he says. "I wasn't expecting it. I thought Tim [Dalton] was off and running and he would continue to do it. I didn't see Tim's films because it was a frustrating time for me. Bond has been kind of a thread through the tapestry of my life, as it were. My late wife [Cassandra Harris] was in For Your Eyes Only. In '86 I was offered the role but couldn't do it, and I would hear reports over the years from people saying, 'You might have been, could have been, should have been,' and I thought, 'My God, is this going to stick with me for the rest of my life — the man who could have been James Bond?' When Tim left, it was like, 'Here we go again.' When the subject came up, I just said to my agent, 'Look. I want this resolved as quickly as possible. I don't want to be part of a media circus. I want them — the studio, the company — to either say yes or no and that's it. Because it's bullshit. I've got other things. I've got a career. I'm quite happy. I don't need Bond in my life, but if they want to offer it to me, I'll definitely do it because it's like unfinished business.' When the phone rang and all the negotiations were happening and the opinion polls taken, I just went on with the gardening at home, planted trees, took care of the kids — and then the phone rang and they said, 'You've got the job. Congratulations.' I said, 'Good. Right. Let's do it.'"
And so they have. After a break of six years since the last Bond film, everyone involved — especially Brosnan — has approached Goldeneye as if it were do-or-die for the franchise.
"I feel very responsible for getting it right," says Brosnan. "There was a lot of pressure when we began, but that pressure is off now. Everyone is feeling good that we've come through. I feel good about the picture. I didn't see any of the rushes or dailies, but it feels good. I can only take and believe what people say. The head of the studio called up and was just thrilled with it, and they're already starting to write the next one."
Brosnan admits that a long stewardship of the Bond legacy is an intoxicating notion. He says 007's famous introduction — "The name is Bond; James Bond" — has become a mantra of sorts.
right: Pierce Brosnan was first offered the Bond role in 1986.
"I find myself brushing my teeth in the morning, kind of mumbling the line," he says with a laugh. "I just practice it, I say it and crack myself up. It's quite funny, really, just a breath away from parody. I just keep it as simple as possible. I'm very aware that the audience is waiting for it, so I share the moment with them."
But it isn't just the trademark lines that attracted Brosnan to this Bond effort. He says that Goldeneye takes a fascinating look at Bond as a man, rather than simply as a superspy caricature. "There's a kind of vulnerability to Bond in the sense that he's been betrayed by his best friend in this movie. To me, Bond's the killer; he's the professional man; he's the commander; he's got the thing with the women, the cars, the martinis and all that. But then there's this part of the man who's kind of adrift, somewhere in here," he says, pointing to his head.
There has been a lot of speculation about Brosnan returning to the Sean Connery model of Bond, but the new 007 feels that is unfairly dismissive of Roger Moore. "People criticise Roger's films," says Brosnan, "but you have to remember that Roger made it his own. There's a generation out there that was brought up only with Roger Moore [as Bond]. They didn't know who the hell Sean Connery was, and Roger's films made a lot of money. First impressions are important. There will be people who accept me and there will be those who say, 'He's not Roger' or 'He's not Sean."' The actor pauses for a moment, smiling thinly. "Or, He's not George Lazenby.'"
And Brosnan has no intention of being another Connery, Moore or even Lazenby, the little-known Australian whose lone turn as 007 was in 1969's On Her Majesty's Secret Service. To be his own Bond, Brosnan did not revise the previous 16 films or plunge himself into the original novels. "I just kind of knewr what I had to do," he offers. "I could just feel it. Instead of reading the novels, I read about Ian Fleming. You get more from that than from reading about Bond, because it was mainly Fleming projecting his image of himself into Bond."
Born in County Meath, Ireland, Brosnan and his family moved to London in 1963. After leaving school, he began working as a commercial artist, but he soon became involved in London's theatre scene. "It was a time in the late 1960s when experimental theatre was in its heyday," he says. "It was all about going off and doing weird and wonderful things. It was a time when living theatre was all about leaping around naked. A lot of strange companies doing strange things. Eventually I kind of got serious about it. After doing experimental theatre for two and a half years, I decided to go off and train."
He spent three years at London's Drama Centre, and from there was hired as an assistant stage manager at the York Theatre Royal. Six months later, he was selected by Tennessee Williams to create the role of McCabe in the famous playwright's The Red Devil Battery Sign. Roles followed in a variety of York productions in the late seventies before he was hired by Franco Zeffirelli for a West End production of Filumena.
At the same time, Brosnan began appearing on English television. And when he landed a part in the ABC miniseries The Manions of America, he decided it was time to move to Hollywood: "I was able to convince [the producers] to invest a few thousand dollars to finance our trip to Los Angeles. We ended up at LAX and stayed with an agent recommended to me by my London agent/'
Brosnan soon found himself taking meetings and doing lunches, and it wasn't long before he got his break. He was cast as Remington Steele in a new NBC series of the same name. The character was a private investigator who was sophisticated, charming and frequently inept — always more witty than wise. Brosnan's co-star was Stephanie Zimbalist. "I didn't think the show would last as long as it did," admits the actor. "When I got it, I thought I'd do 13 episodes and that would be it. I had my doubts, I must say. When it was over, there was a sense of relief. The whole process of episodic television is too joblike. One of the reasons you become an actor is not to be in a situation where you clock in and clock out. Yet at the same time, I have a lot to be grateful for. It established me as an actor in America, which offered a lot of opportunities. Part of the choice of acting is doing a job that goes from six weeks to six months and then you're off doing something else. With episodic television, you're playing the same character every day and I worried about losing my creativity."
The success of Remington Steele led to the miniseries Noble House, the TV movies Murder 101, Livewire and Death Train, and such features as The Fourth Protocol, Nomads, Taffin, The Lawnmower Man, Mis. Doubtfire, Robinson Crusoe, Night Watch and, of course, Goldeneye, which will lead to at least two more Bond films.
During the press conference that introduced him as the new Bond, Brosnan emphasised that he wanted to peel back Bond's layers to find out more about him.
"That was more for myself," he says of that statement. "You can only play the scene in the script. If the scene is about looking for a key, it's about looking for a key. That's hardly pulling back the layers. I think there are little moments, but at the end of the day it is a Bond movie and it has to be colossal fun."
Still, the actor is convinced that more of Bond will be seen in future films. "Movies like the original Die Hard,'''' he says, "prove that the two elements — action and characterisation — can work together brilliantly. Lethal Weapon, too. Mel Gibson sitting in the trailer, putting the gun in his mouth and looking at the photograph of his wife. That speaks volumes. There's a lot of action, but you can see that the man is in pain. That's the reason I'd love to do a remake of On Her Majesty's Secret Service. The whole thing about his getting married and losing his wife — there's a lot of good character stuff there."
The good character stuff in Goldeneye begins when Bond's former friend, Alec Trevelyan (Sean Bean), says to him, "How many vodka martinis does it take to drown out the screams of the men you've killed?"
"As we go on, and if it all works, I think those moments should be explored more," he muses. "I want to see Bond in his home environment. I want to see his world. What makes him tick? I think we owe it to the audience a little bit. Not over the top, because there's a mystique to it, but I want to see him maybe taken in from the field because of a psychological problem. I really want to push that in the next one. I think the film can lend itself to seeing a bit more about him, what makes his skin crawl so that he's more real. I haven't seen any of Goldeneye yet, but the texture of it just feels different than a lot of the [previous] films."
Admitting that he thinks Bond is a "cool guy," Brosnan also finds that there is a level of darkness to the character that's appealing to him as an actor. That notion was reinforced, he says, when producer Barbara Broccoli gave him a leather-bound 1953 edition of Ian Fleming's Casino Royale for his birthday.
"I was reading it on the way home that night," he says, "and it's really Bond at the casinos playing, going back to his hotel room, checking to see if the hair he had placed in the door was still there and undisturbed, getting into bed — and, just as he's falling asleep, he puts his hand under the pillow for his revolver. The last sentence is, 'His face went into repose. Brutal. Cold.' It's good writing. Fleming put things down well, he could turn a phrase. Bond is the ultimate hero to play, but he's complex enough to keep it interesting. He has demons there that he sits on the whole time, that he can't let out."
It would, Brosnan points out, be fascinating if he did: "Sometimes, if you don't articulate it well at a press conference, it comes out, 'He wants to get into the deeper, darker side of James Bond' and you get ridiculed for it. But I do think it's certainly worth exploring. We can still have the humour, weave it in and out of the dark and the light. For this one, for me, it's just been to keep it as simple as possible, as direct as possible, as honest and truthful as possible, without pushing it. Martin [Campbell, GoldenEye's director] has been a great asset in that department. He has given me great confidence to stand there and do that. There's a tendency when you do something like this to gild the lily too much. This is like a fresh beginning and, at the same time, I think we're tipping our hat and paying homage to those initial Sean Connery movies. They set the standard and you cannot turn away from them. You cannot not acknowledge them. As an actor, I can't be scared of them or intimidated by them. But it's time for a new look at Bond."
Brosnan feels that the ten years between his initial casting as Bond and Goldeneye allowed him to adequately mature into the role. However, if he has one regret about the wait, it's that his wife, who died of cancer, isn't here to see him portray the character. "Not a day goes by that I don't think of her," he says softly. "She wanted this so much for me and it just didn't happen. I remember back in '86, the script for The Living Daylights sat by my bed through all those weeks of negotiations and I thought, 'I'll read it once the ink is dry on the contract.' But the pen never saw the paper."
Since then, however, he admits that he has celebrated, though in quiet ways. "It doesn't have to be with a 100 people and lots of champagne," he points out. "It could be just walking down the street feeling good; sitting in the car feeling damn good that I've done it and that I'm here. In the beginning, there was trepidation because it was like, 'How are you going to do it? Can you do it? Yes, you can do it.' That's the kind of thing that gives you the edge. If you don't have that fear, why bother? You're backed in a corner in a sense, and have to kick out. I guess you could say it's been a long haul, but well worth it."
left: "The name is Bond. James Bond."
THE JAMES BOND DOSSIER
Height: 1 83 Centimetres
Weight: 76 Kilos
Scar on right shoulder Signs of plastic surgery on back of right hand
Expert pistol shot, boxer, knife thrower
Does not use disguises
Languages: French, German
Vices: Drink, but not to excess, and women
This man is a dangerous professional spy who holds a Secret Service » number with the '00' prefix -giving him a Licence To Kill.
above: "It's a Bond movie and it has to be colossal fun."
BORN: 1952, County Meath, Ireland
SELECTED FILMS: The Long Good Friday, Nomads, The Fourth Protocol, Victim of Love, The Lawnmower Man, Mrs. Doubtfire, Love Affair
SELECTED TV SERIES: Remington Steele
OTHER TV: The Mansions of America, Noble House, Nancy Astor
RIGHT: "Bond is the ultimate hero to play, but he's complex enough to keep it interesting."
IZABELLA SCORUP - Natalya Fyodorovna Simonova
When the Bond franchise was launched in the early 1960s, the 'Bond Girls' were little more than eye candy, talking Barbie dolls who were easily seduced by Agent 007 and inevitably ended up in the pages of Playboy magazine. But as the women's movement redefined the role of the so-called gentler sex, the Bond Girls began to acquire dimensions that truly would've left Ian Fleming slack-jawed. Beginning with 1977's The Spy Who Loved Me, which offered a sexy and smart Russian operative played by Barbara Bach, James Bond found himself face-to-face with the modern woman.
Now, 33 years after the first 007 adventure, the new breed of Bond Girl reaches parity with Her Majesty's superspy. In Goldeneye, Bond is partnered with Natalya Fyodorovna Simonova, a beautiful Russian computer operator working at a secret weapons research centre inside the Russian Arctic Circle. She is the sole survivor of a vicious attack by General Ourumov, who wiped out the research team in his successful effort to gain control of the Goldeneye pulse satellite. Like Bond, she must deal with a personal betrayal, in her case by fellow computer operator Boris Ivanovich Grishenko, who is working for the British traitor Alec Trevelyan.
"Natalya is just so casual, such a normal girl," says actress Izabella Scorupco, who portrays the Russian researcher. "She is currently working under the new system created by the downfall of the Berlin Wall, but she was brought up under the much more strict political regime, which scarred her early life. I was born in Poland during the Cold War and know of the hardship and oppression first hand. Natalya's childhood would have been very much like my own. I think there are one or two similarities between myself and Natalya. She questions things and is very tough — I think I am like that, too. I would like to see myself as a strong girl. When I was a youngster in Poland I had to cope with the fact that my mother, a doctor, underwent interrogation for three days after treating someone who had a political bias... Solidarity or something. So I know how it is."
Scorupco does admit, however, that her character has more exciting adventures than she can claim. "Natalya is an ordinary working girl who gets caught up in a complicated series of events," says the model-turned-actress. "She shows an amazing aptitude for self-preservation and has much more energy than I have. She goes through a lot of tragedy throughout the whole film. It starts with her being the only witness of the murders at the research centre. She does what she has to do to survive. She's just so intelligent and she knows that without her Bond is not going to be able to accomplish his mission."
She was born in 1970 in the Polish village of Byalstok. After moving to Sweden, she studied drama and music until the age of 17, when she was discovered by a Swedish film director who cast her in a movie titled No One Can Love Like Us, which made her a teen idol in Sweden. Some modelling and recording work followed, including a gold single in 1989 called 'Substitute'.
The next step, her promoters told her, was to conquer America's music industry. But she had other plans. "I was supposed to record in America, but I just stopped," Izabella explains. "I was almost acting as a singer instead of being a singer. Like I was doing what I was supposed to do as a singer, but I wasn't really feeling like a singer."
In 1994, Scorupco resumed her acting career and landed the lead role in a Swedish medieval drama called Petri Tears. For her, Goldeneye was a filmmaking experience far removed from what she has previously known.
"I was shocked, totally shocked, when I was offered this part," she says with a laugh. "I never dreamt that I would ever appear in a Bond movie. It's just incredible. I was determined to make the most of this opportunity. I was shooting a Swedish film in Gotland when [casting director] Debbie McWilliams came to see me and videoed a short screen test with me reading from the script. Making the film was so different from film-making in Sweden.
"When I came to England to start shooting Goldeneye, I was shocked at having my own trailer," she adds sincerely. "In Sweden, we had one trailer for five actors. We have the equal rule, where everyone deserves the same. Here I'm sitting in a chair with my name on it. I just never want to get caught up in the whole power thing. I think what happens sometimes is that the actors you work with are being spoiled and, in the end, even if you think it's a little bit too much, you never want to be treated differently than anybody else. But when they treat you as a star, sometimes I think you can lose who you actually are."
Though she's enjoyed the trappings of star treatment, Scorupco emphasises that she would have no problem stepping into another low-budget film. "The way I look at it," she explains, "is that a film like Goldeneye gives me the money and therefore the opportunity to do the [films] I want to do. In the last scene of the film I was making in Sweden, I was barefoot, running across ice and we don't have stand-ins. While they're setting up the lights, I'm standing there. My feet are just freezing. But you do it and you think it's normal. We had a scene where we were swimming, and that was in October. When the camera goes on you, you just forget about it. It's because you feel so lucky to be shooting a film. There are so many actors waiting and never doing anything. Every time I'm shooting a movie, I'm thinking, 'Of all these people, they chose me.' When you're tired you should always remind yourself to be grateful. It's quite difficult to go around being grateful every day — although for the first four weeks, I was just saying thank you to everybody for everything."
Now that she has momentum, she adds that she is truly grateful to have had the opportunity to co-star in this Bond movie. "The Bond films are such exciting fantasies that people love to forget their normally humdrum lives and escape into this world of make-believe," says Scorupco. "I'm sure that is the reason for the longevity [of the franchise]. James Bond is the ultimate man. He might not be the dream of every woman, but certainly of most men. I know all my male friends identify with Bond and wish they were more like him. The films are like a visit to wonderland... this is how wonderful it could be to be a strong man surrounded by beautiful women dealing with all the problems he has to deal with."
According to Scorupco, the two skills she had to master for the film were speaking English with a Russian accent and learning how to fire a gun correctly. The language aspect was fairly easy, as she already speaks English. "I think it's easy for me to talk like a Russian because I was born in Poland and it's almost like a Polish accent. It's great for the film, because it really does make you feel like they're Russians.
"As far as the gun is concerned," she adds, "I practised loading it, holding it and, rarely, firing it. It was a very strenuous role for me and I surprised myself with how well I coped. I don't exercise at all, but as soon as the camera turns on you find you can do almost anything — be it dying of fever or leaping from the skids of a helicopter. So long as the film is rolling, you just do things that you wouldn't be able to do otherwise. That is what makes me love this business."
But after Goldeneye, will the business love her? The Bond series has left a long trail of actresses who were acclaimed for scoring as Bond Girls, but were then never heard from again. Scorupco recognises the trend, but has little fear that she'll be forgotten by Hollywood.
"Playing such a good role in this latest Bond film is the greatest opportunity for me, an unknown Swedish actress," she says. "At the same time, I don't think this is security for the future. It is how I perform in the movie that will decide what happens to my career when the film comes out. I don't think just being in the film will determine my future. Some people may be disappointed because I am so normal and casual in the film. There is such a difference between Xenia and Natalya.
"But I believe strongly in fate," closes Scorupco. "Getting this role in this film was fate. If I'm not going to do anything more after this — and I certainly hope I will — I'll probably end up a housewife or something. You never know what's going to make you happiest. But right now, working on Goldeneye, I feel very happy."
BELOW: Izabella claims that "James Bond is the ultimate man "
right: Izabella Scorupco with Pierce Brosnan — "without her Bond is not going to accomplish his
THE BOND GIRLS
1962: Ursula Andress -Honey Ryder
1963: Daniela Bianchi -Tatiana Romanova
(Prom Russia With Love)
1964: Honor Blackman -Pussy Galore
1965: Claudine Auger -Dominique 'Domino' Derval
1967:Akiko Wakabayashi -Aki
(You Only Uve Twice)
1969: Diana Rigg -Tracy deVicenzo
(On Her Majesty's i Secret Service)
1971: Jill St. John -Tiffany Case
(Diamonds are Fcrever)
1973: Jane Seymour -Solitaire
(Live And Let Die)
1974: Britt Ekland -Mary Goodnight
(The Man With . thè Golden Gun)
1977: Barbara Bach -Major Anya Amasova
(The Spy Who Loved Me)
1979: Lois Chiles-Holly Goodhead
1981 : Carole Bouquet -Melina Havelock
(ForYour Eyes Only)
1983: Maud Adams -Octopussy
l985:Tanya Roberts -Stacey Sutton
(AView to a Kill)
1987: Maryam D Abo -Kara Milovy
(The Living Daylights)
1989: Carey Lowell -Pam Bouvier
Licence To Kill)
opposite above: Although Izabella learnt to shoot a gun for the film, on this occasion she leaves it to Bond.
BORN: 1970, Byalstok, Poland
SELECTED FILMS: No One Can Love Like Us, Petri Tears
SINGLES: 'Substitute', 'Shame, Shame'
SEAN BEAN - Alec Trevelyan
Alec Trevelyan is the mirror image of James Bond suave, brilliant, daring and endlessly inventive. Thus, he proves to be the most challenging adversary agent 007 has ever faced.
Sean Bean portrays Trevelyan, agent 006 in Her Majesty's Secret Service and Bond's best friend. In many ways, Trevelyan knows Bond better than 007 knows himself, making this villain more dangerous than Blofeld and Goldfinger combined.
In Goldeneye, Trevelyan has betrayed both Bond and his country. He leads the Janus Syndicate in Russia and manages to gain control of the pulse satellite that can decimate the world. His initial target is England, the government he feels sold out his parents during World War Two.
"Trevelyan is not your normal screen villain," says Bean. "When we first meet him, he appears to be a friend and ally of James Bond. He is a very well educated, highly trained secret agent with a strong military background. He rises to the top of his chosen career by using his wits and razor-sharp reactions. He is a very capable sort of operative. In some ways, he's almost like two different personalities. One when we meet him at the beginning of the film and he's working with Bond, and one several years later when he's become the villain. In the end, he still retains some of the qualities he had when he was working with Bond, though he's turned to the other side. He's a very clever fellow and matches Bond with his wit, intellect, special training and aggression. I think Bond appreciates and understands the fact that they're equals. Also, the audience will hopefully think — even though in the back of their minds they know the answer — 'Who's going to win?'
"I like playing villains," he emphasises. "I always find it very enjoyable to do. I have played villains on several previous occasions — the best known role was probably the obsessed IRA terrorist in Patriot Games. He was just an out-and-out head case, really. I think Trevelyan has got a bit more to him — much more intelligence, much more scheming. He knows what he wants. If the role is a strong meaty part, such as this, then I can really get my teeth into it and create something exciting. The villain is always an important ingredient in the success of a Bond film and Trevelyan is such a good adversary to Bond in this particular adventure. They are such a good match and the final confrontation between the two is powerful and very spectacular. They start off as the best of friends with complete trust in each other and end up trying to kill each other. It is quite a violent conclusion to the story."
Born in Sheffield, Yorkshire, Sean Bean initially followed his father into the family welding business before winning a place at the prestigious Royal Academy of Dramatic Art, where he won the Silver Medal for his graduation performance in Waiting for Godot. Shortly after graduating from RADA, Bean made his professional acting début as Tybalt in an 18-week run of Romeo and Juliet at the Glasgow Citizens Theatre. A compelling Romeo for the Royal Shakespeare Company at Stratford-upon-Avon was reinforced by his appearance as the dastardly Lovelace in a BBC television adaptation of Clarissa. More recently, he portrayed Lieutenant Sharpe, an enlisted man who rose through the ranks against all odds as one of Wellington's riflemen during the Napoleonic Wars in three seasons of Sharpe's Rifles. One of his most popular roles was in the four-part TV series Lady Chatterley's Lover, directed by Ken Russell.
After establishing a reputation as a solid professional with his stage and TV work, Bean made the jump to the big screen. He acted in the critically acclaimed The Field, and then co-starred with Harrison Ford in Tom Clancy's Patriot Games. He has also appeared in Black Beauty, When Saturday Comes and Stormy Monday.
"Like most young lads growing up in this visual modern world, I've always enjoyed the Bond films," says Bean. "I still w'atch them over and over again when they come on television. But I have never read the books. I didn't know there were novels until I became interested in the movies. I may well read them all now that 1 have become part of the folklore. It was the same with Sharpe, the TV series I have been making. I never knew the stories were based on novels until I started filming them.
"I think the 007 stories have lasted so long because James Bond is such a great hero," he adds. "Most people can identify with what he does and most would like to be in his shoes. He always fights for a good cause and he comes up against some great villains, and he always manages to win. It's exciting. He also manages to have one or two beautiful girls around, which makes it all very easy on the eyes."
Bean believes that Goldeneye's producers have got the perfect 007 in Pierce Brosnan: "He seems to have everything. He's got wit, the integrity, the good looks, he's physical, he's fit and strong, he can fight. He seems to have all the ingredients a special agent like Bond would need. I was pleased that they asked me to play his adversary in his first film as James Bond."
Most pleasing of all to the actor is that Trevelyan is not the unrealistic, larger-than-life villain that one typically sees in 007 films.
"He's a character who feels he's been betrayed by the British, and this forces him to turn his back on everything he's been brought up to believe in," says the actor. "That's where his grievance comes from, and he genuinely believes he's fighting for the right reason; to battle the people who betrayed his family. I don't think villains do bad things just to be wicked or evil. I think they do them because they have some kind of aim and believe in what they're doing. You've got to believe you're doing it for some reason, otherwise you're just acting evil, and that doesn't make sense."
The villain is always important in the success of a Bond film.
below: Bean feels that <fTrevelyan is not your normal screen villain " opposite: Sean Bean believes Brosnan has "all the ingredients a special agent like Bond would need."
As an actor, Bean found the sequences between Brosnan and himself to be the most satisfying. "There were some good moments where it wasn't all action," he explains. "It was Bond and Alec discussing what had happened in the years since they had last seen each other; why I did what I did and why I'm doing what I'm doing. It's an explanation, as such, and there are quite a few moments of dramatic dialogue, which is nice to have in there. At the same time, there's a great fight scene at the end of the film that should keep the audience on the edge of its seat. It just goes on and on and on. It's a hell of a showdown. It's not just about fighting, it's seeing it in the eyes as much as anything — seeing the link between them and their having to fight to the death. We rehearsed the fight sequences quite extensively with [stunt coordinator] Simon Crane before filming any of the punch-ups. It was more a martial-arts type of action rather than punches and stuff... elbows, rabbit punches, blows to vital areas of the head and body. By the time we had fought the last fight, we were both suffering from cuts and bruises and various strains, but they are part and parcel of action scenes. Acceptable injuries.
"But in the end, it's more of a psychological battle than a physical one," Bean says in closing. "A lot of thought went into it dramatically. It's been a long time [between films] and so many people want to see Bond. It will be interesting to see how they react to this sort of new era in Bond films."
below: Sean Bean and Alan Cumming — Trevelyan and Boris.
SELECTED FILMS: Caravaggio, Stormy Monday, The Field, Partriot Games, Black Beauty
SELECTED TV SERIES: Sharpe
OTHER TV WORK: Clarissa, Inspector Morse, Lady Chatterley's Lover
1962: Joseph Wiseman -Dr. No
1963: Robert Shaw -Red Grant
(From Russia With Love)
1964: Gert Frobe -Auric Goldfinger
1965: Adolfo Cell -Emilio Largo
1967: Donald Pleasence -Ernst Stavro Blofeld
(You Only Live Twice)
l969:Telly Savalas -Ernst Stavro Blofeld
(On Her Majesty's Secret Service)
1971 : Charles Gray -Ernst Stavro Blofeld
(Diamonds Are Forever)
l973:Yaphet Kottò -Mr Big, alias Dr Kananga
(Live And Let Die)
1974: Christopher Lee -Francisco Scaramanga
(The Man With The Golden Gun)
1977: Curt Jurgens -Karl Stromberg
(The Spy Who Loved Me)
1979: Michel Lonsdale -Hugo Drax
1981:Julian Glover -Aris Kristatos
(For Your Eyes Only
1983: Louis Jourdan -Prince Kamal Khan
1985: Christopher Walken - Max Zorin
(A View To A Kill)
1987: Joe Don Baker -Brad Whitaker/ Jeroen Krabbe -General Georgi Kostov
(The Living Daylights)
1989: Robert Davi -Franz Sanchez
(Licence To Kill)
FAMKE JANSSEN - Xenia Onatopp
Goldeneye villainess, Xenia Onatopp, is a sexually VJ charged lady who sets her sights on a victim, coaxes him out of his clothes and into bed, and — during the climactic moment — uses her thighs to crush the life from him. Well, if you've gotta go...
Xenia may have little respect for her lovers, but that doesn't mean she isn't fun to be around. "Xenia is the sort of person who really loves life and loves all the dangerous things about living," opines actress Famke Janssen. "She drives fast cars, she flirts with men she shouldn't flirt with, she loves to fly and shoot guns. She just loves life. So it was really fun for me to play Xenia because I feel she is the very opposite of me. Not that I hate life, but I don't need all that danger and excitement in it."
Born in Holland, Janssen began her professional career as a model. Eleven years ago, she moved to the United States, initially settling in New York, where she majored in writing and literature at Columbia University and studied stagecraft with Harold Guskin.
From there she moved to Los Angeles, embarking on a television career as a stepping stone to the big screen. Janssen appeared in Star Trek: The Next Generation, The Untouchables and Melrose Place. More ambitious was her co-starring roles in last summer's supernatural thriller Lord of Illusions.
opposite: Famke Janssen as the deadly Xenia Onatopp.
However, Bond has always been part of her life: "I can't remember exactly how old I was when I first became aware of the James Bond movies, but I know that whenever a new Bond film came out — and they are very popular in Holland — the entire family would go to see it en masse. I never imagined actually appearing in a Bond film. I never dreamed of being in any film — Dutch, American or English, let alone a series as successful as Bond.
"Playing a villain is something new for me; I usually play the 'goodie'. But it has been a wonderful experience. It gives you so much freedom as an actor to play a bad person, an evil person. If I am going to be typecast after this film is released, I hope they typecast me in the villain department because I would love to play more villains.
There are a lot of different villains to play, and none of them have to be the same. It's just like no two people are alike, be they villains or heroines.
"I had to learn several new skills for the role, but the most important one was to be trained to shoot the AKSU, the short Kalashnikov machine gun," she continues. "The first time was pretty scary actually. It's a real gun — it kills people! They tell you they are just blanks, not to worry. But then I stand a couple of feet away from people and shoot at them. Your instincts say, 'Man, I can't do this, I'm going to kill someone.' But once I got the hang of it, it was a big thrill.
"Playing opposite Pierce Brosnan has been exciting," she laughs. "He brings wit, sex appeal and intelligence to the role — probably the most essential requirements for anyone playing Bond. I think the Bond films have been successful for so long because they constitute a male fantasy. I'm not sure if the women in the audience identify with the female characters, but for me, watching as a kid, I probably identified with Bond and wanted to be like him. He's such a free, fun character. He gets to do everything in the world that everybody would love to do and gets away with it. I think it's pure escapism. It's a movie where people just go into a fantasy world for a few hours to escape their everyday lives."
ROBBIE COLTRANE - Valentin Zukovsky
A relic of the Soviet Union, Valentin Zukovsky has mm found his place in the post-cold war era as a ruthless Russian arms dealer. The imposing former KGB agent has tangled with 007 in the past and lived to tell the tale, but not without receiving a permanent limp courtesy of a bullet in the knee from Bond's Walther pistol. Played by Robbie Coltrane, the fanatically patriotic Valentin Zukovsky nearly repays Bond the favour, before forming a tacit alliance with him to fight a common enemy in Janus, a descendant of Russian traitors and perhaps the only person Zukovsky loathes more than Bond.
"I have always wanted to play a 'baddie' in a Bond film. I didn't get a cat to stroke, but it's still good," laughs actor Robbie Coltrane, referring to infamous Bond adversary Ernst Stavro Blofeld. "I like the script for Goldeneye. It deals with a major problem in the world at the moment — organised crime in post-Soviet Russia. There are some rogue nationals and some real mean weapons in the world, and this script makes sense to me."
Born in Glasgow, Coltrane began his career 20 years ago with a 50-minute documentary titled Young Mental Health. He has appeared extensively on the British stage, in film and was a member of the enormously popular British comedy team, The Comic Strip. Coltrane has since remained hugely popular on television, particularly with the acclaimed series Tulli Frutti and as hard-drinking, chain-smoking criminal psychiatrist Fitz in Cracker. He has also found fame on the big screen, appearing in Neil Jordan's Mona Lisa, Nuns on the Run and The Pope Must Die, amongst many others.
He admits to having fond Bond memories, dating all the way back to the first film in the series, Dr. No. "I saw the film with my dad when I was 13 or 14," he reflects. "I remember going mad when Ursula Andress walked out of the sea. I always wanted to be James Bond — all that sex and a Licence To Kill people, stuff that all young boys want. We used to leap up and down in the streets and I would imagine having an Aston Martin DB5 and going to a casino and knowing what to do. As an adolescent, you always wonder what you should be doing, but James Bond always knew what food to order, what wine to drink, how to drive, how to chat up the girls.
"Things have changed over the years. I don't think there are the same role models as Bond used to be. People like Arnie (Schwarzenegger) seem in another dimension, with all that hardware. With Bond, it was always possible that things could happen to you. You can't imagine Bond suddenly turning into a robot from another planet.
"And how about those Bond girls?" he adds rhetorically. "Everyone likes to look at beautiful girls, but the days are over when men had sexual fantasies about girls who couldn't speak. People did not think about the implications of things way back then. Attitudes have changed enormously since then. The early Bond stuff was very macho. Bond has changed over the last quarter of a century. He had to in order to survive. That's only right."
"They had to do a lot of make-up for me, because I was just too damn handsome and Pierce felt a bit threatened"
James - For England
It is dawn at the Arkhangelsk Chemical Warfare Facility in the USSR. James Bond 007 infiltrates the base and rendezvous with 006, Alec Trevelyan. But as they are preparing explosives with a six minute delay, Bond and Trevelyan are cornered by guards and 006 is captured. As Bond hesitates over choosing between his friend's life or the mission's success, Russian Colonel Ourumov kills 006. Bond shortens the timer fuses to three minutes and escapes as toxic gas canisters cascade over the guards.
Amid a hail of bullets, 007 dismounts an army motorcyclist and races after a departing plane as it taxis along the cliff top runway. Both vehicles surge over the precipice, 007 free falling towards the cockpit of the now empty plane and piloting it to safety as the complex erupts in flames behind him.
left: James Bond and Alec Trevelyan, 007 and 006, at the Arkhangelsk Chemical Warfare Facility.
below left: Russian General Ourumov prepares to shoot Trevelyan.
above: Bond dodges a hail of bullets as he races after the departing plane.
Nine years later, Bond is driving a silver DB5 along the Grand Comiche above Monte Carlo. Suddenly, a red Ferrari driven by a raven-haired beauty speeds past and Bond cannot resist rising to the challenge of racing round the treacherous bends. However, Bond's female passenger pleads with him to stop and the Ferrari speeds away. That night at the Casino, Bond recognises the Ferrari parked outside and soon turns the baccarat tables on the beautiful Xenia Onatopp. She is being escorted by a Canadian Admiral, and Bond films the couple as they leave for her yacht. In his Aston Martin, Bond gets word from Moneypenny that Xenia is an ex-Soviet fighter pilot, with links to the Janus Crime Syndicate in St. Petersburg.
The following day, at the unveiling of the new French Air Force Tiger helicopter, Onatopp and the 'Admiral' are welcomed to the ceremony. Meanwhile, Bond boards Onatopp's yacht only to find a body which he recognises as her escort from the previous night. Putting two and two together, 007 races to the helicopter demonstration. However, Bond is unable to prevent Onatopp's hijacking of the Tiger, the only helicopter in existence reinforced against electronic interference.
RIGHT: James races his silver DB5 against a red Ferrari driven by an unknown woman. below: Bond catches up with the beautiful Xenia Onatopp at the baccarat table.
BOTTOM LEFT AND RIGHT: The unveiling of the French Air Force Tiger helicopter.
Severnaya station, Siberia — the top secret base for Russia's space weapons research. Ourumov, now a General, and Onatopp arrive in the stolen helicopter and demand the test firing of 'Goldeneye'. Goldeneye is a smart-card controlling two rogue space vehicles, Misha and Petya, deliberately left out of the bilateral disarmament agreements. As the deadly duo feed the base's own coordinates into the computer, they shoot the entire crew and escape with the Goldeneye device. Only two computer operators. Boris and Natalya, survive the assault — albeit separately, as Boris has betrayed his comrades.
MI6's surveillance systems spot the Tiger in Siberia, when suddenly there is a systems crash. A massive Electro-Magnetic Pulse knocks out their satellites, and when they are back on line, the helicopter has vanished and the base has been destroyed. Could this be the Goldeneye project that MI6 had recently investigated? The detonation of a nuclear device in the atmosphere could cause such a radiation surge, destroying anything with electronic circuitry. The Russian government claims it was an accident, but it has all the hallmarks of a Janus operation. Bond's mission is to find Goldeneye and his only lead is General Ourumov — the man behind 006's death nine years before...
above: The Tiger; the only helicopter reinforced against electronic interference.
left: Severnaya station is attacked.
left: Natalya Fyodorovna Simonova.
'Governmments change, only the lies remain the same'
right: Bond greets CIA agent Jack Wade.
below: James renews his acquaintance with former KGB agent Valentin Zukovsky.
Ourumov arrives at the Russian defence council in St. Petersburg, blaming the Siberian separatists for the destruction. He assures Defence Minister Mishkin that this was the only Goldeneye. Mishkin suggests that he directs his attention to the two survivors. Ourumov is aware of Boris' escape and quickly arranges for the capture of Natalya to ensure her silence.
Bond is sent to St. Petersburg, where he is met by CIA agent Jack Wade and directed to Valentin Zukovsky, an ex-KGB arms dealer with underworld connections. Zukovsky sets up a meeting for Bond with Janus, informing 007 that the mysterious leader is a Lienz Cossack seeking vengeance on the British government that allowed his countrymen's slaughter at the hands of Stalin.
above: James Bond confronts Xenia Onatopp.
left and below: James Bond — captured and interrogated.
Onatopp makes contact with Bond in his hotel sauna and he is promptly taken to a rendezvous with the mastermind behind the theft and destruction... his old friend 006. He calls himself Janus (after the two-faced Roman god) because of the facial scarring he suffered after Bond detonated the chemical weapons nine years earlier. Janus has Bond tran-quillised.
When he comes round, Bond finds himself tied into the Tiger's cockpit along with the computer programmer, Natalya. The Tiger's missiles fire and are locked on to the helicopter's co-ordinates. Bond must act instantly to activate the ejector mechanism, which he manages just in time. Parachuting down amidst the wreckage of the helicopter, their freedom is short-lived, as they are captured by the Russian authorities.
above and right: James commandeers a Russian tank and goes in hot pursuit of Natalya.
Believing him responsible for the Siberian incident, Mishkin starts interrogating Bond. Natalya explains that Boris and Ourumov are the real traitors and that there is still another Goldeneye in existence. Suddenly Ourumov bursts in. As his activities look like being uncovered, Ourumov shoots Mishkin and prepares to frame Bond and Natalya for the murder. They manage to escape, but Natalya is recaptured and taken to Janus. Meanwhile, 007 smashes his way out of the base and gives chase in a tank. The pursuit leads Bond to a rail depot, where Janus has his headquarters on a train. Using the tank, Bond manages to derail the train and boards, taking them by surprise.
But Janus is quick-witted and orders Ourumov to place a gun to Natalya's head. Bond is faced with an agonising decision: "Back where we started, James. Your friend or the mission." 007 shoots Ourumov, saving Natalya as Janus and Onatopp escape by helicopter. But once again Bond is trapped; this time in the sealed train carriage. The radio crackles: "I set the timers for six minutes," Janus laughs. "The same 'six minutes' you gave me. It was the least I could do." While Natalya uses the onboard computer to trace the second Goldeneye to Cuba, Bond manages to find a way out before the inevitable blast...
right: Natalya is rescued from Janus' headquarters on a train.
Northwest Cuba. Keeping their plane below radar tracking, Bond and Natalya survey the island looking for anything resembling a huge satellite dish. As they glide over a perfectly circular lake, a missile shoots from beneath the waves, clipping the aircraft and forcing them to crash in the nearby jungle. Bond drags Natalya's limp body from the wreckage before collapsing. As he's coming round, Onatopp abseils from a chopper and gets to grips with Bond once more. Fortunately, Natalya manages to distract Onatopp, enabling Bond to use her automatic weapon to panic the helicopter pilot. The helicopter drags the unfortunate Onatopp away, killing her as she's caught in a tree. Suddenly, the lake begins to drain, revealing the satellite dish, and the antennae cradle rises.
above: Bond carries Natalya's body from the crashed plane. left: Onatopp takes Bond by surprise as he recovers from the crash.
left: James and Natalya infiltrate the base.
Bond and Natalya manage to infiltrate the base and set about attaching timed charges to various fuel tanks, when Bond is captured. The target programmed into the computers is London. "Interesting set-up, Alec," sneers Bond. "You break into the bank via computer — and then transfer the money electronically — just seconds before you set off the Goldeneye — which erases any record of the transactions. Ingenious". Meanwhile, Natalya frantically readjusts the computers, so that the nuclear bomb-laden satellite will burn up on re-entry, and then encrypts them before her eventual capture.
right: Boris nervously clicks on Bond's explosive pen.
below: Trevelyan gets the drop on Bond.
right: The satellite is set to destroy London.
'Boys with toys'
Janus is well aware of Q's gadgetry, and sifts through Bond's effects, scrutinising his watch and depressing the usual button that deactivates 007's previously planted explosives. However, he overlooks an explosive pen which Boris lifts and starts to nervously click, unwittingly arming and then disarming its fuse. Boris attempts to crack the girl's code, but Janus tries a more direct approach: a gun at Bond's head in order to prompt Natalya's memory. At that moment, Boris inadvertently clicks the pen three times, activating the explosive. The resulting blast distracts the guards, ignites the fuel canisters and aids Bond and Natalya's escape. As bullets ricochet off the closing doors, they ascend by lift to the surface, where Bond races to destroy the suspended transmitter cradle.
Janus pursues his 'long lost friend' as the base spews flame into the sky. The fight is to the death —
Bond and Janus using every last scrap of their training to overpower each other. As a helicopter is despatched to save Janus, the fight takes the two adversaries down the transmitter's central spindle, where Bond is left dangling as Janus grinds his hand underfoot. Bond falls to the edge of the antenna — a 500 feet drop awaits below. As the helicopter hovers above, a gun is placed at the pilot's head... it is held by Natalya. The distraction allows Bond to knock Janus off balance but, instinctively, 007 grasps the ankle of the falling villain, halting his fatal plunge. Janus taunts "her Majesty's loyal terrier, defender of the so-called faith." Bond hesitates. Janus knows that he will die, but continues to mock 007. "For England, James?" Bond's face turns to steel. "No. For me," he retorts, releasing his hold on Janus who plummets to his death. Bond leaps to the waiting helicopter as explosions rip through the complex.
Bond and Natalya are set down in a nearby clearing, their mission accomplished. With no one around for miles — well, only a few dozen marines and Jack Wade — and in classic Bond style, James instructs Natalya in the finer points of 'operational procedure.'
| Stuart Bartlett
above AND left: Trevelyan and Bond fight it out on the transmitter's central spindle.
below: James and Natalya are reunited with Jack Wade.
opposite: Actor/writer Alan Cumming plays computer whizz kid Boris Ivanovich Grishenko.
ALAN CUMMING - Boris Grishenko
Allowing General Ourumov and the Janus Syndicate to An obtain control of the Goldeneye pulse satellite is Russian computer whizz kid Boris Ivanovich Grishenko, who works at Severnaya Station, a secret underground installation housing Russia's Space Weapons Research Centre.
Relating better to computers than people, Boris is the stereotypical outlaw hacker. His ego pushes him to prove his mettle, even at the expense of his countrymen, and he often calls himself invincible as much to convince himself as anyone else who may be listening.
"Boris is a very sad person," says Alan Cumming, the writer/actor who portrays him. "He has obviously had an unhappy childhood and threw himself into the world of computers and never quite developed in other areas. Because he was brought up during the oppressive years of communism in the Soviet Union, he became obsessed with the subject of death. He became an absolute genius with a computer, but geniuses are often lacking in most of the social.skills."
Born in Perthshire, Scotland, Cumming's first job was as a writer for a teen magazine called Tops, for which he interviewed pop stars, made up horoscopes and even modelled for photo-love stories. He trained for three years at the Royal Scottish Academy of Music and Drama before going on to numerous television and film appearances.
"I like working," says Cumming, "and I certainly liked the idea of working in a Bond film. It was a terrific part anyway, but the fact that it was a Bond film really clinched it for me. The only skill I had to learn for the role was how to 'twiddle.' I was required to pass a pen-grenade through the fingers of one hand while operating the computer keys with the other. It was quite difficult — something like patting your head with your left hand while rubbing your stomach with your right. Also, I had to learn to speak English with a Russian accent, which wasn't too difficult for me because 1 often do accents anyway. Fortunately, a lot of the Russian sounds are similar to my natural Scottish ones."
As for his life after Bond, Cumming says he wants to pursue additional interesting work. "I suppose I have to do some practical things in order to be able to achieve the things I want to do," he notes, "which means going to America and things like that. I just want to do the things I like — which aren't necessarily the things my agent wants me to do."
'His ego pushes him to prove his mettle, even at the expense of his countrymen.'
JUDI DENCH - M
For the first time in its 33-year history, the Bond films have broken with tradition by casting a woman in the role of 007's superior, M, with Dame Judi Dench picking up the mantle. In these changing times, it somehow seems appropriate.
"I enjoyed playing M," admits the legend of the English stage. "I don't consider myself a feminist — I like it when a man opens a door for me. I love all that. At the same time, women have asserted themselves in business and established themselves as the equals of men. The days of 'Bond Girls' seem to be over. I refer to myself as a 'Bond Woman' and will, indeed, for the rest of my career. But M takes quite a tough line in this particular Bond movie. Then, again, how would you get the job as head of MI6 by being anything but tough? There was a scene in Goldeneye in the operations room where two men were talking to the exclusion of M and she had to assert herself and say, 'Hold on. I know exactly what you are talking about. I have read the brief.' I have directed a number of stage productions and men accept my direction because I am very bossy. Inside, I am not bossy at all.
"In this movie," she adds, "I am sure M is aware of being a woman and having to assert authority and understanding very clearly. After tearing Bond off a strip, she lets him know with the last line in the dialogue that she does care about him. 'Come back alive, Bond,' she says." "I had no time to prepare for my role in Goldeneye," says Dench, who admits that the process of film-making makes her nervous. "I had no idea of how I was going to play M when I arrived at the studio. But then I walked onto the set and saw the room and everything started to fall into place. I can only react with people around me. Fortunately, because I had quite a big scene, I had time to absorb and think about it. I only had three hours sleep a night, worrying about the filming each day. I was terribly frightened by it all."
Which is not to say she'll give it up any time soon. "The thing 1 like about acting is that we are all equal," she says. "Equal in money, which has no regard for differences in sex, colour, religion or nationality. Either you can do it or you can't. I am 60 now, but I never think of retiring. We are always trying to be older or younger. Our business is trying to assume another personality. I do enjoy life." ¦
above: "M takes quite a tough line in this particular Bond movie"
'I refer to myself as a 'Bond Woman' and will, indeed, for the rest of my career'
DESMOND LLEWELYN - Q
There are certain constants in the universe: death, taxes, the rising of the sun and Desmond Llewelyn's reprising the role of Q, the gadget master who has been supplying Bond with life-saving devices for 15 of the 17 films shot in the series.
"I am unique in the acting business," admits the actor. "I am a small-part actor. I had one day's work in Goldeneye and my biggest part in all the Bonds was the last one [Licence to Kill], Otherwise, it is a day or a day-and-a-half at the most. There have been over thirty hours of Bond films and I am in them for less than thirty minutes."
Llewelyn was cast as Q in the second Bond film, From Russia With Love, replacing actor Peter Burton who had played Major Boothroyd in Dr. No one year earlier. Ironically, though, he admits that he's "hopeless" with gadgets.
"I can't even get a ticket to work in the underground ticket machines," he says. "I can't fix anything. I could never have anticipated the success after From Russia With Love. I had just finished Cleopatra out in Rome. They formed a type of rep company out there so that they had a group of actors available if they suddenly wanted someone. I was doing bit parts on TV and plays at the time. People do not realise that actors of my age [almost 80] were acting before the war. I would do 50 plays a year in rep. The public enjoyed seeing us in different things."
And Llewelyn is constantly recognised in public. Recently he and his wife were having lunch at a pub when the theme from Mioonraker was played in the background. "One of the customers said, 'They must have put this on for you'," he recalls. "No one had said a thing to me up to then. I am readily recognised, but I am not a millionaire. I travel on the underground, shop in the supermarket — it is as if the public does not expect to see me in these places. I do not get residuals and my fame completely out-matches the reality."
Of all the gadgets he has supplied Bond with over the decades, his favourite remains the Aston Martin from Goldfinger, which was equipped with a wide variety of devices, including an ejector seat.
"What is so brilliant about the gadgets," Llewelyn enthuses, "is their simplicity. Take the car. Knives coming out of the wheels were seen with Boedicea and Ben Hur; the ejector seat comes from aeroplanes; oil slicks were used by G-Men, and so on. But the cleverness is putting all that in a new context, in one single vehicle." ¦
right: Desmond Llewelyn makes his 15th appearance in a Bond film.
below: Llewelyn admits to being hopeless with gadgets.
SAMANTHA BOND - Miss Moneypenny
Following in the tradition of Lois Maxwell and Caroline Bliss, Samantha Bond — an appropriately named actress for a 007 film if ever there was one — assumes the role of M's personal assistant, Miss Moneypenny, who has had a long-standing flirtatious relationship with James Bond.
Samantha has extensive stage experience and is a member of the Royal Shakespeare Company, which led to her acting in Kenneth Branagh's production of Romeo and Juliet, as well as Much Ado About Nothing directed by fellow Bond star Judi Dench. She is also a familiar face on television, her recent appearances including Rumpole of the Bailey, Inspector Morse and Tears Before Bedtime. However, Goldeneye is only Samantha's second feature film, following her début in Erik the Viking.
"I was very excited when they offered me the part of Miss Moneypenny," she says. "I came over to see them once and had a small screen test with Michael (Wilson), which went over to America. And they said, 'Yes, okay.' "Bond films have tremendous appeal. Bond is an historical fantasy. The boys I know are far more envious of what I am doing than the girls. It is like every young actor's dream. It is part of history. Blink and you'll miss me — but I'm on! I was not all that happy with the way my scenes were shot, though. To begin with, I was standing behind a desk and the whole thing was shot steadi-cam. As I said to my husband, there is not even a single close-up. And what was supposed to be an intimate exchange [between Bond and Moneypenny] in a lift became something different along a corridor."
"I have to admit," she smiles, "when I watch Bond films, I am not politically correct in any shape or form. Bond girls never struck me as being sexist. When Sean Connery was playing Bond, all women were portrayed like that in films. When Roger Moore took over the role, it was so silly it didn't matter. But in this film, Moneypenny is like a sparring partner for James. M is played by a woman, and the two leading ladies are very strong, which is good."
However, in summing up, Samantha says she could never see herself as a 'Bond girl': "I could never be a Bond lead — look at the two girls in this film. They are exceedingly attractive. I play nice girls; victims who cry a lot." Still, where would Bond be without the ever dependable Miss Moneypenny? ¦
LEFT: Samantha Bond follows in the footsteps of Lois Maxwell and Caroline Bliss.
below: "In this film, Moneypenny is like a sparring partner for James'
JOE DON BAKER - CIA Agent Jack Wade
James Bond might never have been as annoyed with a contact as when he was introduced to CIA agent Jack Wade (codename Bogart). Much less formal than his British counterpart, Wade would rather discuss the art of growing roses or drinking Scotch than using secret codes. After strangling the official greeting out of Wade, "Jimmy" Bond learned as much about gardening from Wade as he did about the mission. Played by Joe Don Baker, Wade's good ol' boy persona rubs the prim and proper Brit the wrong way at times, but he's essential to the mission, and 007 learns first-hand how much of an asset the boisterous American truly is.
below: Joe Don Baker makes his second appearance in a Bond film.
Baker is an interesting footnote in the history of the James Bond franchise. He and Maud Adams, who appeared in The Man With The Golden Gun and Octopussy, are the only actors to appear in more than one Bond film as different characters. Unlike creepy arms dealer Brad Whitaker in The Living Daylights, this time Baker is on Bond's side.
"I find Jack Wade to be a fun guy," enthuses the actor, who's still best known for his role as Sheriff Buford Pusser in 1973's Walking Tall. "He's not your typical CIA agent — he's a bit of a rogue, a bit of an independent thinker. He is in complete contrast to Brad Whitaker. Whitaker was a powerful international arms dealer living in palatial luxury in Tangiers. He thought he was a General with his own private army. He was an evil, cruel man. Jack Wade is a good old boy."
Baker likes playing good old boys, and makes no secret of his desire to see Wade return in future films. "If he becomes an ongoing character, that would be okay with me — so long as he remains as interesting as he is in Goldeneye. I'm sure he will be. I've played both villain and hero now, and it's difficult to say which I prefer. It depends on the character. A lot of heroes are goody-two-shoes, straight down the line, boring. With villains, you can make them more interesting in that you can snarl and spit. In general, you can have more fun playing a bad guy. But if it's a good guy like Jack Wade, who has a lot of colours to him, then it's a lot of fun too. There are many levels to him."
Professing to be a long-time Bond fan, Baker says he's genuinely excited about the casting of Pierce Brosnan in the lead role. "Sean Connery was a very good Bond, and I think Pierce will take us back to that style, that mixture of humour and hard-nosed action that was so popular during Connery's reign," he observes. "Especially with Martin Campbell directing, and the really strong supporting cast. I've got a feeling Bond is going to make a big comeback with GoldenEve." ¦
GOTTFRIED JOHN - Ourumov
As Russian General Ourumov in Goldeneye, Gottfried John is one of James Bond's chief adversaries. Long thought to have killed Bond's friend and fellow agent, Alec Trevelyan, on a mission to destroy a chemical weapons plant, Bond's hatred for Ourumov has been eating away at him for four years. A ruthless general, Ourumov is as likely to shoot one of his own soldiers as the enemy if crossed, and he will lie, steal and kill to help him gain an edge. Ourumov wants power, and will stop at nothing to achieve it.
"From my point of view," John says, "Ourumov is an old-fashioned Russian General who tries to re-establish the old system. To further his ideas and personal ambitions, he joins up with a group of people who are prominent in the newly formed Russian Mafia. He thinks of himself as a man of iron, but destroys himself when dealing with people who are even stronger than him. It was because of his many facets that I particularly wanted to play the role. The Wall coming down, and what it did to socialism throughout eastern Europe, had a dramatic effect on him. He is still living in the past. I wanted to show how this character would react to the destruction of Russia as he knew it."
Recipient of classical theatre training at Berlin's Dramatic Art School, John went on to acclaim on the German stage before segueing to the movie screen, and like others in the cast, he approaches his Goldeneye role as seriously as he would any other.
"Obviously, my character was one of the villains but, as a rule, I try to avoid playing evil characters," he emphasises. "I have the type of face that is difficult to characterise. It is tricky for me to play villains. I don't believe in 'baddies' and 'goodies'. In a fairy tale like Bond, there are heroes and villains and yet I still try to show a human side. I think the General is very vain at the beginning. He is convinced that he is indestructible and will win this kind of battle — and becomes a broken man when he loses. Then he becomes afraid and is like a trapped animal. He put his trust in Trevelyan, the head of the Janus Syndicate, and that was his first, and last, mistake." ¦
right: Gottfried John plays old-fashioned Russian General Ourumov.
TCHEKY KARYO - Dimitri Mishkin
below: Classical French actor Tcheky Karyo learnt to speak Russian with an English accent.
Russian Defence Minister Dimitri Mishkin wants Goldeneye returned, and if he has to execute a few people to find out where it is, so be it. Charged with the task of finding out who used the Goldeneye to attack Severnaya while keeping the incident away from CNN, the clever interrogator's instincts are validated when he learns that there is a traitor in his midst.
"Dimitri Mishkin is a young generation of politician," says Tcheky Karyo, who portrays the Russian Defence Minister and Politburo Member. "He has grown up under the old regime but is now trying to honour the new administration. He is an elegant and smart man, very ambitious, who fights against those in the military who prefer to retain the tyranny and oppression of a system disregarded by the rest of the civilised world."
Best known for his roles in classical theatre and such artful cinematic enterprises as Luc Besson's Nikita, Nostradamus and Ridley Scott's 1492 Karyo triggered a considerable amount of surprise when he agreed to appear in the 17th entry of a film franchise and pop-culture legend.
"I don't consider myself a purely classical actor," explains the French native, who has gained enormous critical respect for his stage and screen roles. "But I do take my work seriously, no matter what part I am playing. The Bond films are great fantasy adventures, but the backgrounds against which the stories are told are always important and topical subjects that affect the world in a dramatic way. For instance, Goldeneye is set against organised crime in post-Soviet Russia, a problem that affects every country in the world. It is for this reason that I take my role very seriously and give it as much attention as I did to playing Othello or Macbeth in the French theatre."
The impression would be that the actor would have a difficult time speaking Russian with an English accent, but he says that wasn't the case at all. "I was born in something of a melting pot," Karyo explains. "My father was born in Turkey, near the Russian border, and he always spoke French with a Turkish accent that sounded very Russian. I always worked very closely with the dialogue coach, Andrew Jack, with whom I had previously worked on Nostradamus.
"As far as I can remember," he adds, "I have never played a Russian before. I enjoyed playing Mishkin and I particularly enjoyed working with [director] Martin Campbell. I love his energy. I love his sparkling attitude and character — he is always on the move, you know. He has an effervescence, like champagne. Fizzy. Keeps you concentrated." ¦
FILMING Goldeneye - Justin Keay looks behind-the-scenes >
Martin Campbell - director
The film is shot, the celluloid is in the can, and the actors, following an exhausting, virtually non-stop shoot, can at last unwind and rediscover their real 'selves' after months of playing someone else. The one person who cannot relax is the director. Especially if he is firsttime Bond director Martin Campbell, on whom, along with Pierce Brosnan, much of the expectation of relaunching one of cinema's most famous franchises has fallen. Yet New Zealand-born Campbell is showing few signs of nerves. "I'm very confident about this film, and I'm not just saying that," he confides, taking a break from checking the sound on the opening graphics.
"I've been a fan of the Bond films for as long as I can remember," he recollects. "I saw my first, Dr. No, back in New Zealand with my mother and I really feel this is going to be a return to form, although I must say much of my confidence is due to Pierce. He is a natural; I think he'll be on a parallel with Sean Connery as the best Bond." Campbell continues: "I also feel that audiences accustomed to fast-moving films will not be disappointed: the film is very pacy, but also, unlike some of the Bond movies of the mid-1980s, grounded in reality. The plot is drawn straight from the headlines." Campbell has reason to be confident. Preliminary screenings of the film got an overwhelming response, with both Brosnan and the new Bond girls being given a strong green light. A tightening up of the storyline and a trimming of 12 minutes were the only changes he felt obliged to make, but Campbell is making no excuses; "Audiences these days are more demanding. Now a film has to move much more quickly if it is to keep the audience's attention. We've kept that in mind."
To maintain the pace, Campbell takes up the chase immediately after the opening titles. "The most important thing," he says, "is to get the film moving as quickly as possible. People want to see Bond start blasting and shooting away, doing what he does best."
Despite this being his first Bond, Campbell's resumé suggests that his work to date will make him a natural successor to earlier Bond directors such as John Glen, Lewis Gilbert and Guy Hamilton. He cut his directorial teeth on renowned television series like The Professionals, Shoestring and Minder before his real breakthrough, the gripping, award-winning nuclear drama Edge of Darkness, starring Bob Peck and Joanne Whalley-Kilmer. After this success, Hollywood beckoned: Campbell responded with the moody legal thriller Criminal Law and No Escape, starring Ray Liotta. The latter brought him to the attention of Bond producers Michael Wilson and Barbara Broccoli. Indeed, they were so sure they had found their man that Campbell was in Goldeneye script discussions within days of finishing No Escape. "Directors get no rest, I'm sure of it," he jokes.
PREVIOUS PAGE: Derek Meddings and Pierce Brosnan on set. above: On location for Goldeneye.
below: Famke Janssen prepares to shoot a scene.
Campbell has brought his own vision to the story: "What matters most with Bond movies is that you have a good story with strong characters — there is no doubt that we have this on Goldeneye. To my mind we are returning to a more traditional, grittier Bond, in the style of the earlier, Connery films. Tim (Dalton) brought his own interpretation of the role — as driven, never quite relaxed — but I always felt that Bond had to be very much at ease with himself. Pierce has the sophistication and ability to be suave but dangerous at the same time. To my mind, this is what makes Bond — a tuxedoed anti-hero — unique." For this reason, Campbell is steering away from the temptation his predecessor succumbed to, of transforming Bond into a politically-correct character. As far as Campbell is concerned, Bond is for all time, not just for the 1990s. Bond remains a chauvinist, drinks, though not to excess, and is still given to one-liners ("groaners" as Campbell calls them) at the expense of those who fall foul of him. The one thing he does not do — in deference to the changed sensibilities of the 1990s — is smoke. "There are differences. The Bond girls are tougher and more interlinked with the story. They can get by without Bond if they have to," he says, making no apologies for the lack of bikini-shots in Goldeneye. Another thing Campbell was careful to monitor was the plot: "To be honest, I always found some of the Bond movie plotlines in the past quite hard to follow, until someone pointed out that following them wasn't the point: watching the film's action unfold was. That said, I think our plot is quite well signposted. It does make sense!"
And for the future? Campbell says his first priority is a long, well-earned rest. Despite his success on Golden-
Eye, he won't be drawn on whether he will direct another Bond film, despite the long tradition of one director doing a number in a row (John Glen, for example, directed all five Bond movies to appear in the 1980s, from For Your Eyes Only in 1981 to 1989's Licence To Kill). "The most important thing is to break in the new Bond," he says, admitting that despite the glamour, directing is a job. "Really, in choosing new projects, it's quite hard to find good scripts: the choice is really not that big. So if I was offered the Bond film... I would certainly consider it." ¦
above: Martin Campbell behind the camera. right: Rehearsing a scene for the sequence at Janus' headquarters.
Michael Wilson - producer
Bond is back, and for the series' producer Michael Wilson, it's not a moment too soon. "The last six years have been very frustrating," he says of the drawn-out legal and financial dispute that led to the biggest gap ever between Bond movies. "I'm very glad we can now look forward."
A native New Yorker, Michael Wilson's career first took him to electrical engineering and law before he finally joined Eon Productions in a legal administrative capacity in 1972. He was named assistant producer on The Spy Who Loved Me, graduating to executive producer on Moonraker and then joining his stepfather Albert 'Cubby' Broccoli as co-producer on A View To A Kill. Ever since, partly due to Cubby's age, Wilson has assumed increasing control of the series: on Goldeneye he is credited as coproducer, along with Barbara Broccoli.
right: Lighting a scene on location for Goldeneye.
below: Goldeneye producer Michael Wilson.
Wilson is aware that, over the years, other film-makers and studios have sought to emulate Bond's success. Particularly over the past six years — when the long gap after 1989's Licence To Kill led some to suspect that the series had reached the end of its natural life — many films have sought to assume the mantle of Bond. Bruce Willis' Die Hard trilogy, the Steven Sea'gal movies (notably Under Siege and its sequel) and the mega-bud-get, Arnold Schwarzenegger blockbuster True Lies have all been described as 'neo-Bond' movies. "Competitors come and go, but there is no one like Bond," says Wilson, whose personal favourite in the series is Goldfinger. "The opening scene of True Lies was Bond-like, but then the film moved away. Aside from maybe the Indiana Jones series, there is nobody else really in the business of making an action-adventure series in this style, complete with exotic locations, beautiful women and everything else. Yes, as far as I'm concerned, Bond is unique."
Yet for all this, Goldeneye will be different. Director Martin Campbell is new to the series. Much of the cast has changed: in keeping with the times, and as a nod towards Stella Rimmington (the current head of MI5), there is a female M. And although the traditional Bond-jingle written by Monty Norman and John Barry remains, the soundtrack music has been written by Eric Serra rather than Barry. Serra's other credits include the music to the Luc Besson films The Big Blue and Nikita.
Most importantly, of course, there is a new Bond, with Pierce Brosnan stepping into the role "I think Pierce is going to be a great Bond," predicts Wilson. "He has great timing and has the ability to blend all the characteristics that makes Bond special. He can handle the action bits very well, but can also play the lighter, comedy elements convincingly." Wilson admits that Eon had their eye on Brosnan as soon as Dalton had decided that he did not want to continue in the part. Although the director had been chosen and the first draft of the screenplay written, there was never any serious contest. "We never offered the role to anyone else," says Wilson, who feels that Brosnan will bring new audiences, but still keep the old ones loyal. "I think he will help rejuvenate the series and help it run for a long, long time."
Wilson also predicts that audiences will not be disappointed by the special effects, stunts and locations in the movie, which he feels are second to none in the series. "It was very hard work, but worth every minute," says Wilson of the 23-week shoot. Cast and crew worked almost a 12-hour day, with only one day off a week, on location in St. Petersburg, Puerto Rico (which doubled for Cuba), Switzerland and Monte Carlo. There was also a huge new studio built specially for Goldeneye at Leavesden, just outside London, when it was realised that there was insufficient space at Pinewood, where studio work on most of the other Bond movies was shot.
A converted Rolls-Royce factory, with seven stages, Leavesden is believed to be the largest studio in Europe: in the words of one Bond insider, "you could fit Shepperton and Pinewood inside and still have space over." Rumours are that, funding allowing, it will become a permanent studio and a regular for future Bond productions. "We looked all over Europe before realising we'd have to convert Leavesden," says Wilson, who maintains that the complexity of much of the action in Goldeneye, which includes a tank running out of control in St. Petersburg (something understandably hard to do wholly on location), meant that studio work became essential. He argues that this does nothing to compromise the realism of the final product: "Oddly enough, location shoots can not only be very difficult, but can themselves end up looking unreal. I remember in Moonraker, looking for locations to shoot that movie's jungle scenes, we scoured the Amazon, around Manaus (in Brazil) and elsewhere. We finally found the perfect spot, in Florida. If you took a helicopter you'd have seen, a few hundred yards from where we were, housing estates, with the local McDonalds just a short drive away. Yet for our purposes it looked and was perfect."
Wilson emphasises that the new film will be less intense than Licence To Kill. However, Wilson is adamant that the series is not getting more violent: "I think the violence in Bond is really a matter of perception. I think some of the earlier films were actually quite brutal. You don't hear complaints about that, however. People just think of them as classics." That said, the world which the .new Bond faces is, in many ways, an even more dangerous place than the world written about by Ian Fleming. "All the old parameters and certainties have broken down," says Wilson. "The collapse of the Soviet Union and of the system it upheld means that there are literally thousands of specially trained agents looking around for work. Weapons of mass destruction are just sitting around waiting to be offered to the highest bidder. This is a world in which Bond is needed more than ever!" ¦
above: The Rolls-Royce factory at Leavesden.
below: Setting up the Bond/Onatopp car chase sequence.
Jeffrey Caine - screenplay
With Goldeneye, the aim was to bring back the central essence of the Bond movies that many people regard as the best — Goldfinger and From Russia With Love — but to introduce a pacier style that would appeal to 1990s audiences," says Jeffrey Caine, who together with Bruce Feirstein wrote the screenplay from a story by Michael France.
A teacher of English for three years before becoming a professional writer, Caine started writing for television in the 1980s, contributing to a number of popular UK shows, including Bergerac and Dempsey and Makepeace. He has since written screenplays for both Columbia and Disney. Caine was brought onto Goldeneye after Michael France, whose credits include the Sylvester Stallone blockbuster, Cliffhanger, wrote the initial draft of the screenplay. Goldeneye remains true to Ian Fleming's premise for Bond stories, even though, like the last five Bond films, the story is completely original.
above: On location in Monte Carlo. right: The train which hides the Janus headquarters.
below: Filming Bond and Natalya's beach scene.
"Michael put the basic precepts in, notably the central storyline about the Russian Mafia running out of control. Beyond that it was up to me to devise a script that was both believable and could work," says Caine, who, in his first Bond screenplay, soon realised that there are things you simply cannot do with a Bond film. "I guess it's the same with any movie. There are things you want to do with a storyline which just don't work on film, either because it's impossible, stunt-wise, or it slows up the story. That's why movie-making is always a team effort." The premise of Goldeneye is, in a sense, the reverse of the traditional, Cold War Bond movie, where Bond would be up against an all-powerful bureaucracy. Now it is the absence of state machinery that is the threat.
The challenge for the scriptwriter was to demonstrate how Russia had changed, whilst at the same time introducing a new Bond that audiences would find believable. "I wanted to pull back from the cartoon world," says Caine, in reference to the Bond movies of the 1980s, like Octopussy, when special effects almost took over. He points out that the world of the secret agent was never like that. Indeed, the entire annual budget of MI5 could barely have stretched to funding Bond's car: "They were fine for their time. I think audiences wanted the strong fantasy element, but the 1990s is a very different time. The fantasy is there still, but with a hard edge of believability." As part of this, Caine ensured that Goldeneye's villain was "believably dangerous, but killable", and that audiences, mindful of the fact that Bond always wins, would nonetheless think that Bond can get hurt and perhaps lose occasionally.
Goldeneye has a number of hard-hitting speeches which reflect Trevelyan's motivation and reasons for hating Bond: these would never have graced Bond movies of the Roger Moore era. Bond is painted as a human, flawed character, who despite his dare-devil character is capable of getting, himself into some very sticky situations. Despite his emphasis on making Bond 'real' and thus closer to the character as played by Sean Connery, Caine believes that all four Bonds have had their good points: "If you read the Ian Fleming books, Tim Dalton is probably closer to the character than Pierce, who brings a lighter touch. On the other hand, for the movies, this is what is needed. I think with Goldeneye we have definitely found our direction."
Nevertheless, there were long discussions over whether certain traditional series' hallmarks should be retained. Some, for example, questioned whether Moneypenny was needed, and whether, maybe, the traditional Bond-Q scene was a little passe. Caine maintains that these are integral to the Bond series and are part of what makes it special. "Traditional Bond audiences come with certain expectations. While we obviously want to bring in new audiences too — that is a priority — they cannot be disappointed," says Caine. Despite this, there can be no doubting that Goldeneye looks and feels very new, as befits what is effectively a relaunch of one of the movie world's most successful and long-running franchises. ¦
below: Derek Meddings (right) with cameraman Paul Wilson.
THE VISUAL SCRIPT
Tim Pilcher talks to comic strip and storyboard artist Martin Asbury
Storyboards are principally a visual script," explains Goldeneye's storyboard artist Martin Asbury. They are also an essential part of the forward planning in most major films. It saves footage, time, money and possibly even lives. When working out the original pre-credit sequence for Goldeneye, the stuntman had to be kept under control. Asbury grins as he recalls the moment when he showed the production team his work: "Here was this nutcase stuntman who said, 'I could do that! I can jump off the edge of the earth!' He was really mad."
below: Storyboard for car chase sequence between Bond and Onatopp.
Martin Asbury didn't start out as a wrangler for madmen with suicidal tendencies — he was originally a humble comic strip artist. In 1976 Frank Bellamy, the longtime artist on the popular newspaper strip Garth, passed on: "When poor old Frank died, myself and several others went for the Garth job. I was lucky enough to get it." Martin's association with the strip still continues, with it appearing in The Mirror on a daily basis. But how did his involvement in film start?
"I stopped doing comics work for a while and did some TV commercials. A friend of mine, Dez Skinn, had set up an artists' agency in Wardour Street and one day this guy came in and said 'Have you got anyone who does storyboards?' I was the only person Dez knew. The guy turned out to be Stuart Craig, one of the world's best production designers. God knows what he was doing there! He asked me to do Greystoke. I met with Hugh Hudson, the director, and got the job. It was that simple!" Not bad for a first outing.
Martin's CV has collected an impressive list since, ranging from Superman IV to Attenborough's Chaplin, taking in Legend, Alien 3, Indiana Jones and the Last Crusade ("I did the chase on the train at the beginning, and the final sequence") and Air America along the way.
Working on Goldeneye came about through Asbury's enthusiasm: "I was working on First Knight and knew Bond was coming up. I'd always wanted to do a Bond. I love action films and I enjoy drawing action scenes. I find them interesting and difficult. So I saw the production manager and he suggested me to the director, Martin Campbell.
Martin had only just started to use storyboards on his previous film, No Escape, and loved them."
So what was it like working with Campbell? "All storyboard jobs are different, as is each director," Asbury elaborates. "Directors tend to feel threatened by storyboard artists because they think you're doing their job for them, but you're just an extension of their abilities. They all want different things from you, but along with Alien 3, Goldeneye has been the most enjoyable film I've worked on. I was working very hard but it was terrific fun.
ABOVE AND LEFT: Storyboard and final filmed sequence from the Arkhangelsk Chemical Warfare Facility.
"Working very hard" is a slight understatement from an the artist who put in twelve-hour days, six days a week to complete his work: "I used to get in early, at about 6:30am, so I could do an hour or so of Garth. Then about 7:30am everyone else would turn up and we'd work on the film until about 6:30pm. I'd also spend my lunch hour drawing Garth. Unfortunately, Martin Campbell was an early riser, so I'd turn up at about 6:30am and he'd already be there, waiting like a vulture. He'd drag me into his office and brief me until about 10.00am, then expect to see it all finished by the end of the day!"
left: A selection of Martin Asbury's colour storyboards for Goldeneye.
Despite the gruelling schedule, the two Martins bonded: "I got on well with him. He said to me one day, 'You like action, let me show you this. You can't get it in this country' and he put on Defenceless [an action TV movie that Campbell made for HBOJ. I said, 'I've seen it. It's great. In this bit you track along here and then...' So I got my brownie points there!"
"Usually you work pretty closely with the director, ideally hand-in-glove. With Goldeneye, Martin was one of the closest directors I've worked with because he knew precisely what he wanted to do. Hugh Hudson let me just go away and do it and then I'd present it to him and he'd either ask for certain changes or just ignore what he didn't like, and I liked that way of working. On the other hand, it's quite nice to argue with a director! You get more creative evolution."
It normally takes three to six months to complete a film: "The nature of my job is that when the storyboards are done, I'm gone. And usually the storyboards are done before shooting. That's one of the drawbacks of the job." Change is constant on a film such as Goldeneye, with Asbury frequently reworking scenes to perfection, something he relishes: "You're sometimes afforded quite a big creative input and can suggest ways of shooting sequences." One particular sequence — where Bond is involved in a tank chase through the streets of St. Petersburg — had to be re-drawn five or six times until every minute detail could be worked out. But that wasn't the only thing that slowed Goldeneye's production down; every single drawing was in full colour. To appreciate the sheer size and scale of the work, you should know that Asbury completes, on average, a staggering 3,500 individual drawings for each film: "I did one or two in colour and the director liked them so much he said do them all that way. That's unusual — it takes a lot longer — but it gives a everyone a better feel of the finished project which will, after all, be in colour."
The two disciplines of comics and film have certainly helped Martin develop as an artist: "They're both telling a story with pictures, but there's lots of big differences, including continuity and what is called 'crossing the line'. You must never cross the eye-line in a storyboard. That means if someone is on the left of the screen they need to stay on the left unless there is a good reason why not. Whereas in comics you can do what you like." The other major difference is that there are no speech balloons or direct dialogue on the storyboards, but there are usually technical notes.
"With storyboards, you have to think more about how the camera moves as well as the lens — the set, the timing and the dialogue. It's a case of thinking logistically about how a sequence can be cut with another sequence and how a shot can be cut with another shot. You have to realise that you are part of a team and not the sole creator, as you are in a cartoon strip. Everyone has to know what they're going to be contributing to a scene. If it's an aerial sequence, for example, the pilots have to know where to fly, and the effects people need to know where things like explosions are supposed to appear in the sky." ¦
right: Storyboards are invaluable for Golden Eye's many action scenes.
RECREATING ST. PETERSBURG
Justin Keay talks to production designer Peter Lamont
Since the series started in 1962, the Bond movies' 'look' has been one of their most distinctive features. A glance back will easily convince: who can forget the huge submarine base from The Spy Who Loved Me? Or the truly out of this world sets seen in Moonraker?
Peter Lamont, production designer for Goldeneye, has played an integral part in devising the Bond films' look, having first worked on the series in 1964 as a draughtsman in the art department for Goldfinger. Throughout-his career, Lamont has worked on many British and American movies. These include The Boys from Brazil and Sphinx as art director, and production designer work on James Cameron's Aliens (where his design of the Queen Alien's lair won him an Oscar nomination) and the Arnold Schwarzenegger film True Lies, which many saw as a pastiche of the Bond films. Despite this busy schedule, Lamont has been involved with every Bond movie since Goldfinger, moving from chief draughtsman, to assistant art director, set director and art director. His work as art director, on The Spy Who Loved Me, earned both Lamont and production designer Ken Adam an Oscar nomination.
below: Production staff working on James Bond's escape from the Arkhangelsk Chemical Warfare Facility.
"Every Bond movie has its own challenges, but in many ways Goldeneye was one of the most difficult," recalls Lamont. Indeed, Lamont's first task was to find an alternative studio when it emerged that Pinewood, where most of the previous Bonds have been shot, had insufficient space. After scouring the countryside, they finally alighted on Leavesden, an old factory once used by Rolls-Royce, conveniently located just outside London.
The whole place had to be first stripped down and then fitted with five stages (two of them huge, at 250 x 130 feet and 220 x 130 feet), numerous dressing rooms and all the machinery necessary to film-making. Only after the factory had been transformed into a studio was it possible to start building sets. Lamont supervised all of the construction for the main set, including the Severnaya nerve gas plant from the film's opening and the set for the denouement, set below the parabolic dish. This was recreated with miniature effects supervisor, the late Derek Meddings. They also created M's new office, which Lamont devised from original plans of the recently constructed MI5 building after Britain's real-life secret service rejected his request to look around.
However, perhaps the biggest challenge was the recreation of a one mile long St. Petersburg street, complete with Russian-style phone boxes and advertising hoardings. It was decided that only the second unit team would go to the Russian city (for ten days), rather than the first unit with director Martin Campbell. The production team felt this would take the pressure off Campbell. Given the nature of Russian bureaucracy (23 different bodies had to be consulted ahead of the St. Petersburg shoot) and the inherent difficulties of location shoots (particularly in crowded inner-city areas), he would probably have been tied up for about six weeks. The constraints of the Russian authorities created further problems, including limiting the tank used for filming to a 20km an hour speed limit — little more than walking speed — and the potentially endless expense of making good any damage to sewerage or water systems during the shoot. The production team were also not helped by the mayor's wife coincidentally living in the street where shooting took place!
Thanks to Lamont's brilliant recreation of the street, based in St. Petersburg's prestigious and historic Moika-district, seamless authenticity was attained, although at a cost of £1 million. "Looking at the film, you would never guess the whole scene (where Bond drives a tank from a Russian army barracks through the streets of the city) was not shot on location," says Lamont, pointing out that most of the pure driving scenes were location shots, which switch to studio shots when the tank starts smashing through buildings. In fact, the second unit clearly did their work well too: the militia were called out when the rampaging tank appeared to have smashed through a building and damaged canal-side railings. They were only convinced after shooting was temporarily stopped and the art
department demonstrated how the shot had been faked by putting a false front onto the real front of the building.
Such effects do not come cheap. The final cost of Goldeneye is about $60 million, which even allowing for the effects of inflation makes it the most expensive Bond. Nevertheless, Lamont feels that Goldeneye represents great value for money, particularly with such authentic results. Audiences can't fail to agree.
above: Model of the French Air Force Tiger helicopter.
below: The recreation of a St. Petersburg street was the biggest challenge for Peter Lamont.
GADGETS, WEAPONS, AND VEHICLES
Justin Keay talks to Nick Finlayson about the problems caused by explosive pens and deadly telephone booths
left above: Q's leg cast quickly transforms into a deadly missile launcher.
LEFT below: Bond's impressive new BMW.
For most fans, Bond just wouldn't be Bond without the gadgets. Gadgets big and small have been an integral part of the Bond experience since Dr. No, when Q — real name Major Boothroyd — supplied Bond with his trademark Walther PPK in place of his preferred Beretta .22. However, it was the second movie in the series, From Russia With Love, which saw gadgets become as important a part of Bond's armoury as his gun and fists: a lethal but innocuous looking briefcase containing ammunition and a canister of poisonous dust, and a special camera with a recording device (don't forget From Russia With Love was made 32 years ago!). Gadgets came into their own with Goldfinger, featuring the famous Aston Martin, complete with lethal extras and ejector seat. Since then there has been no looking back.
Along with miniature effects supervisor Derek Meddings, who tragically died shortly after completing Goldeneye, Nick Finlayson, starting with A View To A Kill (when he devised the snooper that appears towards the end of the movie), has played a pivotal role in making the unbelievable believable. He thinks fans of the Bond series will not be disappointed with the gadgetry on display in Goldeneye. "The film looks very good: it's very much in the tradition of the earlier Connery Bonds, but with a 1990s feel," he says. Finlayson's creations for Goldeneye include, in Q's workshop, a leg cast which becomes a missile launcher, a telephone booth which comes to life and crushes its occupant, and a silver tray which doubles as an X-ray document scanner. In the field, Bond gets to use a pen which turns into a very lethal bomb, a leather belt with a rappelling cord, a piton-shooting gun and an Omega watch, complete with a laser-fired arming device.
RIGHT TOP TO BOTTOM: Bond's leather belt with 75 foot rappelling cord; Goldeneye; watch featuring an arming device; pen containing a class four grenade.
"Devising such gadgets can involve greater complexity than merely technological problems," says Finlayson. "The opening sequence of the film, in which the piton-gun is used, is meant to be nine years ago: the challenge was to devise something which looked of its time. We also had to produce different versions of the same gun: a metal one for firing and a rubber one for when Bond is running, because with all the machinery we'd put into the metal gun, it weighed a ton."
Creating an explosive pen might seem a relatively straightforward task. However, finding a pen which looked the part actually proved very difficult: "We searched everywhere, but the problem was this: Bond, being Bond, should have a relatively expensive-looking pen. To set the explosive within the pen, you needed three clicks of the button on and three clicks off. You'd have thought, no problem; just fix the machinery inside the pen and away you go. Thing is, when you get an expensive pen, the clicker on the top becomes an on-off switch on the side, which wouldn't have looked right in the film. We spent £3,000 trying to devise something until someone picked up a Sunday magazine and bingo! There was our pen, for £8.95!"
Each Bond film is a challenge. Not only to keep ahead of the competition, but also apace of technological innovation. "Of course in future Bonds we will be seeking to do more and more gadgets, but with the pace of invention, and innovation, it's getting harder to be over-the-top. Real life is increasingly throwing up things as fantastic as anything we can devise," he says, recalling a visit to a recent technology exhibition. "All very secret squirrel: but you don't even have to go that far, just go into your local electrical store."
Looking further ahead, Finlayson feels there will come a time not too far distant when special effects coordinators and gadget people will become redundant. "Given computers and the pace of change, I would be very surprised if, for example, my son could follow my career path," he reflects. "The demise of the special effects man is nigh." In the meantime, however, Finlayson will continue doing what he has done for the last four Bonds: trying to out-do his own impressive, often spectacular creations. "I just build and develop, develop and build, and hope it all works when we shoot." ¦
Major Boothroyd swaps Bond's Beretta .22 for a Walther PPK - Dr. No
The famous briefcase containing gold sovereigns and poison dust -From Russia With Love
Q supplies Bond with the gun-toting Aston Martin DB5 - Goldfinger
Miniaturised breathing equipment and bel-textron rocket belt -Thunderball
Little Nellie the gyrocopter -You Only Live Twice
New Aston Martin DB6 -On Her Majesty's Secret Service
Device for winning jackpots on fruit machines -Diamonds are Fcrever
Rolex magnetic watch and special shark gun -Live And Let Die
Nikon camera which causes subject to explode - The Man With The Golden Gun
The Lotus Esprit underwater car and a cigarette case converted into a microfile reader -The Spy Who Loved Me
Special high-speed gondola and a Seiko watch with demolition apparatus - Moonraker
Car theft device with an explosive touch -For Your Eyes Only
Crocodile submarine -Octopussy
Small robot surveillance device - A View To A Kill
The Aston Martin Volante and rocket-firing ghetto blaster -The Living Daylights
Exploding toothpaste -Licence To Kill
above: Bond's famous Aston Martin.
right: Russian fighter jet crashes into the Severnaya surveillance station.
right: Bond and tank disrupt the streets of St. Petersburg.
LEFT: Piton gun used in the opening sequence.
BELOW: One of the two satellites that destroy Severnaya and threaten London.
ALL FOR EFFECT
Jeremy Bentham pays tribute to the work of the late special effects expert Derek Meddings
right: Derek Meddings on the set of Goldeneye.
Derek Meddings' special effects work for Gerry and Sylvia Anderson during the sixties established his reputation for successfully visualising complex action sequences using scale models and miniature sets. It proved an unchallenged passport into the world of James Bond when Eon Productions wanted to upgrade the effects content in the 007 movies during the seventies.
Live And Let Die was the first production to benefit from Meddings' renowned miniature work; a poppy field set seen only briefly before erupting into an orgy of flame and pyrotechnics. A short sequence, but it convinced producer Cubby Broccoli of the quality miniatures could achieve. Meddings' role expanded considerably when The Man With The Golden Gun saw him entrusted with the climax's key elements — a model of Scaramanga's laboratory, his ground-to-air auto-plane and a sectional view of the villain's Far Eastern island, complete with foliage and rocky outcrops, and all destined for a fiery demise.
The 007 movie for which Meddings is probably best remembered is The Spy Who Loved Me. Realising Strom-berg's awesome domain, he went back to his Stingray days for the design of a concrete and steel fortress capable of avoiding attack by sinking beneath the surface on giant hydraulic rams. Unlike Marineville, however, this edifice was submersible beneath the waves of the sea. Doing miniature effects involving water had always been a daunting prospect for Derek Meddings during his years with the Andersons and on The Spy Who Loved Me he went to extraordinary lengths to conquer the particular problems they presented with regard realism.
One solution was mixing live action with false perspective model work, an illusion he successfully accomplished in one shot where deck workers apparently watch a helicopter departing from the fortress. Just at the point where the audience is tempted to speculate that, "Aha, this is only a model", the helicopter passes in front of one of the huge concrete support stanchions, offering evidence that it must be some way in the distance. And yet, both helicopter and pillar were foreground models, not much larger than their sixties equivalents found at WASP headquarters.
The biggest and most effective models were the nuclear submarines and the Stromberg super-tanker Liparus, whose prow opened to swallow the three naval vessels. Meddings built these models large. The tanker was more than 70 feet in length and when filmed in the warm, shark-infested ocean off the coast of the Bahamas, the bow waves and apparent choppiness of the sea gave this super-sized miniature set its desired verisimilitude.
The industry, however, reserved its biggest plaudit for Meddings' handling of the white Lotus Esprit which, in one smooth series of operations, transformed from a motor car into a piloted submersible complete with directional rudders, propellers and a missile launching system. For these scenes, Lotus Cars supplied Meddings with a number of body shells plus various chassis components. Armed with these, plus intercuts of one-quarter scale working models, the effects crew achieved a blend of live action and miniatures where it truly was impossible to see the join. A Grand Prix award from the trade body UNI-ATED duly followed.
Costing twice as much as The Spy Who Loved Me, Moonraker was James Bond's foray into the SF boom of the post Star Wars era. Predictably, Meddings and his team handled all the space sequences involving Drax's orbital platform and a host of space shuttles, and such was the quality of his special effects work that they were nominated for an Oscar in 1980.
A year later he was back at work on For Your Eyes Only, piloting radio controlled helicopters through sections of model warehouses in the pre-credits teaser, filmed this time in the less glamorous environs of Beckton Gasworks.
At the time of his death, on 10 September 1995, Derek Meddings was at work on post-production for Goldeneye, the first Bond movie since For Your Eyes Only to require a significant contribution by the man rightly regarded as one of Britain's senior special effects artists. Naturally, most eyes will be focused on the début performance by Pierce Brosnan as 007. But many will also be looking for the final contribution from Derek Meddings, who has added so much to the Bond movies over the years. ¦
LICENSED TO SELL
Justin Richards delves into the history of Bond merchandise
When it comes to merchandise, the James Bond phenomenon has been all conquering. Books and films have been avidly received, supported by all manner of 007 merchandise. There is scarcely an area that has not been addressed, or an opportunity that has been missed, by manufacturers keen to utilise the James Bond name and image.
Over the years we have been offered a range of merchandise from the obvious to the arcane, from the straightforward to the downright bizarre. From toiletries and clothing (even pyjamas) to model cars and countless toy guns, the Bond films have inspired a huge range of products — and GoldeneEye is no exception to the rule.
The earliest Bond-related merchandise, apart from the books and films themselves, was probably a comic book adaptation of the Dr. No film. This was produced and published by DC Comics worldwide, and by and large stayed pretty true to the plot of the film. There were a couple of changes — the violence of Dr. No's death was rather toned down (one hesitates to say diluted given his liquid demise!).
It is almost inevitable that gadgets are amongst the best remembered and most sought-after of Bond collectibles. The first, and one of the most impressive, was a toy briefcase modelled along the lines of Bond's attaché case in From Russia With Love. Other gadgets soon followed, Goldfinger being a watershed in the development of Bond merchandise.
About the most straightforward products to emerge at this time were jigsaws of scenes from the film — artwork rather than stills — and the soon-to-be-obligatory toy cars. The Aston Martin DB5 was a godsend for the toymakers, the expensive and lavish James Bond Roadrace Set released in 1966 featuring the car as its star attraction.
Other vehicles which toy manufacturers have latched on to over the years include the distinctive moon-buggy (complete with adjustable manipulating arms and grabs) from Diamonds Are Forever. There have also been several versions of the amphibious white Lotus Esprit from The Spy Who Loved Me, as well as a model space shuttle from Moonraker (which looked surprisingly similar to a non-Bond space shuttle toy already available from the same manufacturer). Various lesser-remembered vehicles were also singled out for the star toy treatment, for example the horsebox from Octopussy (okay, so it did have a Range Rover to tow it and a miniature aeroplane with folding wings to go inside).
If the toys were a bit too easy to take out of the box and chase round the floor, you could always make your own. Plastic model construction kits have included the obligatory Aston Martin and the Lotus Esprit. There have also been construction kits available of Little Nellie (the tiny one-man helicopter from You Only Live Twice), a Moonraker space shuttle and a model of the famous climactic fight between Bond and Oddjob at Fort Knox in Goldfinger.
As one might expect, the games enthusiast has also been well catered for down the years. The earliest Bond board game was brought out in 1964, but was really a generalised secret agent game with little specific James Bond input. Games that were actually based on the movie plots started with a Goldfinger game, followed by one for Thunderball. Later role-playing games started to arrive on the scene, and then computer games — beginning with Live And Let Die.
Collectable figures first appeared in 1965, with small, hand-painted figures available either individually or in sets of ten. Featured characters included Bond himself, of course, and both major male and female characters, all drawn from the films. Action dolls of Bond and his friends and foes were not far behind.
above: Viewmaster from Moonraker.
above right: Trading cards produced for On Her Majesty's Secret Service.
below: Thunderball jigsaw puzzle.
left: Goldfinger star, Shirley Eaton, on the cover of Life magazine, and an Octopussy souvenir magazine.
right: The Goldfinger soundtrack album.
Many standard toys were adapted specifically to take advantage of the James Bond brand image. For example, you could kit yourself out with a secret agent watch, a torch that looked like a Walther PPK, and even Bond flippers ideal for striking out through the shark-infested waters of the nearest swimming pool to engage the local Largo in terrible and violent conflict. Using the name or likeness of Bond or the 007 logo on existing or everyday products was an easy and relatively cheap way for manufacturers to boost sales. As a result, there were ranges of James Bond 007 towels, clocks, cocktail glasses, beakers and even sleeping bags.
Pictures are always popular with fans. In Bond's case, photographs and artwork have been published as playing cards (inspired by the deck of 007-backed cards Solitaire uses in Live And Let Die), trading cards, birthday cards, calendars and posters. Posters have ranged from the standard reproductions of both photographs and artwork (and the actual film posters too, if you know the right speciality shops), to the more arcane, like a The Living Daylights logoed advertisement for Carlsberg lager ('He's dangerous and he takes chances. Except when it comes to his beer.').
Magazines associated with the Bond series are considered very collectable, right from the original comic book adaptation of Dr. No. The James Bond Fan Club's own magazine is highly prized, with back numbers sought after. Similarly attractive, and typically heavier on photographs than text, are lavishly-produced souvenir brochures for the feature films. Even Playboy has had special features on the Bond lovelies featured in the background of some of the movies...
It doesn't seem to matter what part of the world Bond travels to, or how dangerous, challenging or secret his mission — the toy manufacturers and product branders are always right there with him! ¦
left: The Omega Seamaster Professional Diver Watch worn by Bond in Goldeneye. below: Goldeneye phone card.
ON THE RECORD
The soundtracks of all'the Bond films are available on record. Singles of many of the themes were released
in special presentation editions and picture sleeves. The Living Daylights, for example, sported a fold-over sleeve with bullet holes drilled in the cover. Most lavish was a special version of Thunderball, which included a small booklet.
FROM CONNERY TO DALTON
Andrew Lane examines the history of the Bond films
right: Sean Connery and Jill St. John in Diamonds Are Forever.
OPPOSITE TOP left: George Lazenby's one film as Bond, On Her Majesty's Secret Service, with Diana Rigg.
OPPOSITE BOTTOM LEFT: Bond adversary Ernst Stavro Blofeld, played by Donald Pleasence in You Only Live Twice.
opposite right: The first Bond — Sean Connery and Ursula Andress in Dr. No.
James Bond came early to the screen. Within a year of flan Fleming's first novel, Casino Royale, being published in 1953, he had been paid $1,000 by CBS television for the rights to produce a single, one-hour TV adaptation. It was screened live in 1954, with Barry Nelson cast as an American Bond who worked for the CIA.
The first serious interest in James Bond as a film property came when young film producer Kevin McClory suggested to Fleming that they produce a series of original films about the character's adventures. Although the deal finally fell through, Fleming used the script he, McClory and writer Jack Whittingham had completed as the basis for Thunderball. This was a big mistake. McClory and Whittingham petitioned in the High Court for an injunction and McClory eventually won the rights to any film version of the story, plus damages and costs.
A few months earlier, Canadian producer Harry Saltz-man had secured a six month option on all the James Bond books, excepting Casino Royale (which had already been sold) and Thunderball (not yet published). Saltzman was introduced to American producer Albert R. 'Cubby' Broccoli, who was also interested in making Bond films. Saltzman had the rights; Broccoli had the connections. A deal was signed with United Artists for a six-film package.
The first film was to be Dr. No directed by Terence Young. Patrick McGoohan, Richard Johnson and Roger Moore were all considered for the part, and Fleming demonstrated his own taste by suggesting Trevor Howard and Michael Redgrave. The role finally went to a Scottish actor who was then virtually unknown — Sean Connery.
UA were reportedly not happy with the final version of the film. They opened Dr. No with little publicity but, by word of mouth alone, it earned an enormous profit. Chastened, UA more than doubled the budget for the next film, From Russia With Love, which is fondly remembered by many critics as the best of the Bond films. Perhaps this is due to the slightly more serious approach, although a supporting cast including Robert Shaw and Lotte Lenya, a solid script by Richard Maibaum and the top-notch action sequences expected from a Bond film certainly help.
The third film, Goldfinger, is still one of the best remembered, featuring Honor Blackman as Bond girl Pussy Galore, Shirley Eaton covered from head-to-toe in gold paint, two memorable heavies in Gert Frobe as Auric Goldfinger and Harold Sakata as the deadly Oddjob, a Shirley Bassey title song and introducing the Aston Martin DB-5. And the action even topped From Russia With Love, with a thrilling climax set in Fort Knox. Bond had truly become a world-wide phenomenon.
They next approached Kevin McClory with a plan to adapt Thunderball. McClory was more than agreeable, and the film was made with Terence Young back as director.
below: Roger Moore grapples with Richard Kiel in The Spy Who Loved Me.
Thunderball was followed by You Only Live Twice, where tensions behind the scenes meant that Broccoli and Saltzman were on the verge of ending their lucrative partnership and Connery was also feeling increasingly disenchanted. Despite a new director (Lewis Gilbert) and a new scriptwriter (Roald Dahl), the film had an aura of staleness about it. Yet the film was once again a success, although box-office didn't quite reach Thunderball levels.
left: Roger Moore and Lois Chiles in Moonraker. below: A tougher Roger Moore in For Your Eyes Only.
Connery refused the next Bond movie. After a massive search for the new 007, Australian model George Lazenby was offered the part for On Her Majesty's Secret Service. Director Peter Hunt, who had worked in various capacities on the previous five films, used the opportunity to point the series in a new direction. Hunt's aim was to make as faithful an adaptation of Fleming's novel as possible, featuring Bond's marriage and his wife's subsequent murder by Blofeld. However, Lazenby had already stated before the film's release that he would not do another Bond movie.
The search for another Bond began even while the script of the next movie, Diamonds Are Forever, was being written. Roger Moore was in the frame again, but was contractually tied to the TV series The Persuaders. And so Sean Connery returned to the role. Diamonds Are Forever was released in 1971 and marked a transitional phase. The gadgets were played down, the big set-piece stunts were played up and Bond walked through the plot dispensing wisecracks. It made more money at the box-office than any of its predecessors.
Meanwhile, Roger Moore was suddenly on the market again. His Bond was to prove a little smoother than Connery's, although he gave the part some pleasing touches of hardness. Guy Hamilton directed him in Live And Let Die and its successor, The Man With The Golden Gun, and audiences were happy.
Both films featured some stunning locations, memorable villains in the shape of Yaphet Kotto as Dr Kananga and Christopher Lee as Francisco Scaramanga (the latter aided by Herve Villechize as the lethal Nick Nack) and the expected gorgeous Bond women (Jane Seymour as Solitaire and Britt Ekland playing the improbably named Mary Goodnight). Sheriff J. W. Pepper, portrayed by Clif-James, was one of the Bond movies' occasional reoc-curring characters and his appearance enlivened both Live And Let Die and The Man With The Golden Gun.
Lewis Gilbert returned as director for The Spy Who Loved Me and stayed on board for Moonraker, which had been selected to capitalise on the sudden and surprising popularity of science fiction films such as Star Wars. The film was the most expensive Bond movie to date (costing twice as much as its predecessor) and clearly pushed Bond as far as it was possible to go in terms of spectacle, fantasy and cost. For Your Eyes Only's budget was only two-thirds that of Moonraker, and the film had a grittier, more 'realistic' feel.
Roger Moore wasn't happy with this toughening up of Bond and so the series continued with the lighter, more humorous Octopussy. Suddenly, though, he had competition. Kevin McClory had Sever Say Sever Again in production, starring Sean Connery. However. neither film appeared to be seriously hurt by the presence of the other.
left: Timothy Dalton makes his Bond début with The Living Daylights.
Roger Moore decided to move on after A View To A Kill, but who would replace him? Irish actor Picrce Brosnan was approached, but the sudden interest in him caused the unexpected revival of his TV series Remington Steele. The final choice was a forty-two year'old Welsh actor with a lot of stage experience — Timothy Dalton.
left: Dalton in his second Bond movie, Licence To Kill.
Dalton's tenure as 007 was short — just two films — but his portrayal of a more sensitive, human Bond proved memorable. The Living Daylights and Licence To Kill (the first Bond film not to use a Fleming title) are both grittier, darker films than anything since Live And Let Die. Although critically acclaimed, the new formula didn't find quite the same favour with the movie-going public.
And so we come to Goldeneye and a new James Bond — Pierce Brosnan. The new film looks set to earn a reputation as one of the very best Bonds and in Brosnan the series' future is in very capable hands. Here's to the next 33 years... ¦
THE BOND BOOKS
Casino Royale 1953
Live And Let Die 1954
Diamonds Are Forever 1956
From Russia With Love 1957
Dr. No 1958
For Your Eyes Only* 1960
The Spy Who Loved Me 1962
On Her Majesty's Secret Service 1963
You Only Live Twice 1964
The Man With The Golden Gun 1965
* Short story collections.
Goldeneye takes its name ' from the home of Ian Fleming, where he wrote the Bond novels.
Producers Albert R. Broccoli Michael G.Wilson Barbara Broccoli
Director Martin Campbell
Executive Producer Tom Pevsner
Associate Producer Anthony Waye
Second Unit Director Ian Sharp
Alpine Director Arthur Wooster
Production Designer' Peter Lamont
Supervising A*t Director Neil Lamont
Set Director Michael Ford
Director of Photography Phil Meheux BSC
Second Unit Cameraman Harvey Harrison BSC
Model Unit Cameraman Paul Wilson
Costume Designer Lindy Hemming
Casting Director Debbie McWilliams
Editor Terry Rawlings
Special Effects Supervisor Chris Corbould
Miniature Effects Supervisor Derek Meddings
Financial Controller Douglas Noakes
Assistant Director Gerry Gavigan
Stunt Co-Ordinator Simon Crane
Script Supervisor June Randall
Make-up Supervisor Linda Devetta
Hairdressing Supervisor Colin Jamison
Sound Recordist David John
Chief Electrician Terry Potter
Construction Manager Tony Graysmark
V/P Marketing, Danjaq John Parkinson
Director of Marketing Gordon Arnell
Unit Publicist Geoff Freeman
James Bond Pierce Brosnan
Alec Trevelyan Sean Bean
Natalya Simonova Izabella Scorupco
Xenia Onatopp Famke Janssen
JackVN^de Joe Don Baker
M Judi Dench
\&lentin Zukovsky Robbie Coltrane
Dimitri Mishkin Tcheky Karyo
Colonel Ourumov Gottfried John
Boris Grishenko Alan Cumming
Q Desmond Llewelyn
Moneypenny Samantha Bond
Billlanner Michael Kitchen
Caroline Serena Gordon
Severnaya Duty Officer Simon Kunz
French V\&rship Captain Pavel Douglas
French Worship Officer Cmdt. Olivier Lajous
Admiral Chuck Farre! Billy J. Mitchell
Computer Store Manager Constantine Gregory
Irina Minnie Driver
Anna Michelle Arthur
MIG Pilot Ravil Isyanov
Croupier Vladimir Milanovich
Train Driver Trevor Byfield
Valentin’s Bodyguard Peter Majer
Screenplay written by Jeffrey Caine and Bruce Feirstein
from a story by Michael France
DAVID BARRACLOUGH JOHN FREEMAN Editors
CATHY MARRIOTT Assistant Editor
CHRIS TEATHER Art Editor
BOB KELLY Production Controller
Contributors STUART BARTLETT JEREMY BENTHAM ED GROSS JUSTIN KEAY ANDREW LANE TIM PILCHER JUSTIN RICHARDS
Special thanks to GORDON ARNELL, CLIVE HILL, BETH H1PPMAN, JENNY JOHNSTONE, PATRICIA O’REILLY, JOHN PARKINSON, AMANDA SCHOFIELD, KATY WILD and IAN WILLIAMS
Account Executive Tel: 01895 444055
The official Goldeneye Movie Souvenir Magazine is published by Titan Magazines, a division of Titan Books Limited, Titan House, 42-44 Dolben Street, London, SE I OUR TM & © Eon Productions Ltd., MAC B, Inc. 1995. Gun symbol logo: TM & © Danjaq, Inc & United Artists Corporation 1962.
All rights reserved.
Printed in England by Acorn Web Offset Limited. Origination by Digital Publishing Services Limited.
ISSN 1360-3698.TBN 0680.