MARK O'CONNELL

Writer, Author, Bond Fan

Tag: Barbara Broccoli (page 1 of 2)

CALIFORNIA DREAMING – Catching EON Productions’ sterling FILM STARS DON’T DIE IN LIVERPOOL

‘Life isn’t everything’ chants Elton John towards the end of 1978’s Song for Guy and the beguiling dressing room opening gambit of Paul McGuigan’s Film Stars Don’t Die in Liverpool. But life is everything if you don’t have much left of it, especially if yours has always been seen through the lens of 1950s Hollywood. Continue reading

FILM STARS DON’T DIE IN LIVERPOOL – EON Productions’ new film looks at the sad and the beautiful tale of Gloria Grahame

EON Productions and Barbara Broccoli’s new movie Film Stars Don’t Die In Liverpool gets its first trailer and totally points to the Oscar buzz possibly coming Annette Bening’s way … Continue reading

LIVELY AND LET DIE – EON Productions announce a new spy thriller, The Rhythm Section


Blake Lively to star in new Barbara Broccoli and Michael G Wilson’s new spy thriller, The Rhythm Section. Continue reading

The Beverly Hills Have Eyes – Reviewing THE KID STAYS IN THE PICTURE

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FROM PINEWOOD WITH LOVE – celebrating 80 years of movie majesty

Continue reading

AND THE BOND PLAYED ON – Reviewing SOME KIND OF HERO

some kind of hero Continue reading

“Come in Number One, we were expecting you” – Sam Smith & WRITING’S ON THE WALL make 007 chart history

JUKEBOX

CONGRATULATIONS to Barbara Broccoli, Team EON and the SPECTRE ensemble for making Bond chart history with the Bond series first UK Number One!

Sam Smith’s WRITING’S ON THE WALL has gone straight to the top of the British charts in its first week of release and is set to resound around the globe for Bond, SPECTRE and Smith. The singer has told BBC’s Radio One “out of all the songs I’ve brought out in my life, I was not expecting this to even chart in the top 10, let alone number one. It’s unbelievable.”

Despite some kneejerk panic and reaction, SPECTRE’s opening anthem is a worthy track, a solid one and possibly needs to be seen in the context of the film it flanks. It is certainly carrying on a grand tradition of the top singer of the era stepping up to 007’s mic and giving the series their take on a Bond tune. This will get Oscar, Golden Globe and Grammy nominations. Easily.

For a review of the track and what it means for Bond – read here.

And Mark O’Connell writes for OUT magazine about Smith and the Bond song legacy :

Why Sam Smith entering Bond’s Thunderball of fame is good news for 007

 

PENS MIGHTIER THAN SWORDS – Reviewing BOND BY DESIGN – THE ART OF THE JAMES BOND FILMS

With a growing archive of at least 15,000 illustrations, famed Bond creative hub EON Productions has collated a celebratory [and of course timely] coffee table look at 53 years of 007 design. Written by EON’s Archive Director Meg Simmonds, Bond By Design – The Art of The James Bond Films is a lavish 320 page tome – as much about the unnoticed artisans of cinema as it is James Bond 007’s glorious design legacy.

Straddling the various artistic strands feeding into the onscreen Bond – costumes, sets, graphic design, props, cars and stunts – Bond By Design explores the 007 design palette chronologically from Dr. No through to SPECTRE. As Archive Director at EON Productions, Meg Simmonds not only contributes to countless 007 books, articles, DVDs, auctions and documentaries, she has also helped curate, launch and maintain a triumvirate of Bond exhibitions. Designing Bond (which has just finished a summer run in Madrid), Bond In Motion (now parked up for a successful run in London’s Covent Garden) and the lesser known Exquisitely Evil (at the International Spy Museum in Washington DC) are all must-see branches of this ongoing project to mark and celebrate Bond’s production, sociological and cultural history.

As the lushly reproduced storyboards, charcoal sketches and hand-drawn illustrations evolve into rich marker pen interiors and beautiful water-coloured vistas before making way for the new era’s digital schematics and pre-vis imagery, Bond By Design is as much a document of late 20th century movie entertainment design as it is 007 – an opulent tribute to the lost heroes of movie design. The painted ponderings of costume designer Julie Harris (Live and Let Die) are as rich and relevant as any Cecil Beaton drawing for My Fair Lady. Anthony Mendleson’s costume paintings for 1965’s Thunderball equal any Edith Head etching for those balletic frames and never-ending legs. Donfeld’s watercolour illustrations for Diamonds Are Forever’s Tiffany Case are as luxuriant and era-pinning as any Vogue Paris cover or Robert McGinnis Matt Helm poster from the same time. And check out Barbarella’s Jacques Fonteray and his Moonraker suits and “Breeder” gowns! It is telling too how the ‘house style’ for Quantum of Solace, Royale and Skyfall ‘s digitally produced designs still hark back to that pulp fiction style of paperback cover art.

Of course the creative endowments to Bond and cinema from the likes of designers Ken Adam, Peter Murton, Syd Cain and Peter Lamont go unchallenged. Yet Meg Simmonds and the EON archive go further with Bond By Design. The end result is a rich reserve of those sleek sketches, languid watercolours and the vital scope of ambition EON and Danjaq afford these designers. But, Bond By Design also underlines the furnishing, decorative and architectural savvy these designers had [and continue to have]. The detail and notes Peter Lamont assigns a fairly incidental set and his clear awareness of materials, light, manoeuvrability and tone is as striking as any triangular ceiling of Ken Adam’s. And this is before the internet, online libraries and catalogued furniture archives. It is not enough for these designers to know their production and construction restraints. As this book testifies, they have to be ahead of fashion, erudite with what they know about the history [and future] of interior design and what will let all the global audiences into the story. And that is before you factor in the final challenge that twenty-four Bond films and their design teams increasingly come up against – originality.

“My job is to give them sets to work in that will surprise and amaze an audience”

Peter Lamont

Of course these designers are all sketching for the good of Bond and cinema. But Bond By Design lays bare their own characters. Ken Adam’s thick, dark and angular images for The Spy Who Loved Me and Goldfinger perfectly highlight just how he was indeed “the man who drew the Cold War” (The Daily Telegraph, 2008). Bond By Design sees those filmic and real life influences of his – The Cabinet of Dr Caligari, Alexander Korda, that Germanistic penchant for precision and cavernous industry and a post-war, Space-Age renaissance of new materials and substances. Likewise, Peter Lamont’s career as a set draughtsman cannot be missed when you witness the mathematical precision he puts into each set, walkway or even doorframe.

“Never a dull moment working on a James Bond film, I can tell you!”

Syd Cain

The devil is naturally in the detail with this collection. It is as much about what we never see as what we do. So costume sketches contain reminders that stunt teams have to wear wet-suits under Lindy Hemming’s red dresses for Casino Royale’s Vesper Lynd and notes hint at how Blofeld’s coat of arms from OHMSS must be technically wrong.

 

The what nearly happened clues are nearly as rich as what did make its way up onto the screen. Close scrutiny of the artists notes and thoughts betray that Solitaire might well have worn an afro wig in Harlem in Live and Let Die (with a possible early thought that Diana Ross was in the running for that film?), the scarlet hues and hanging bling of The Man With The Golden Gun’s Bottoms Up Club are now a VIP room norm, that Willard Whyte in Diamonds Are Forever may have had an unused office complex to end all office complexes, that Whyte was first called ‘Graves’, Tomorrow Never Dies’ antagonist was once called Harmsway and that OHMSS’s Syd Cain designed an abandoned dog fight for GoldenEye. Very little is creatively wasted in the Bond franchise.

“What the Bond films did, they stimulated my imagination. I felt the sky was the limit. I could do anything.”

Ken Adam

Bond-by-Design-The-Art-of-the-James-Bond-Films-2It is the staggering specifics that go into these drawings – and ultimately on-screen – that makes Bond By Design such a valuable document for all film lovers, let alone Bond fans. The thought and notes jotted down for a simple flower-covered pillar in a party scene in A View to a Kill or the in-depth measurements Lamont makes for the flower elevations in OHMSS lay bare the commitment to quality first pioneered and bankrolled by the likes of Cubby Broccoli and Harry Saltzman and now well and truly continued with Barbara Broccoli and the man with the most producer credits on Bond, Michael G Wilson. This is the tireless effort going on behind, in-front and beside the scenes as hardened fans panic about gun-barrel logos infinitum on 007 forums. So much is actually designed for a Bond film beyond physical sets and theatrically-minded interiors. Gold bars, the front of Baron Samedi’s train, Bond’s MI6 logo, casino chips, Martini glasses, what ornaments a villain owns, is it to be a headscarf or a necklace a panicking tourist wears are all elements that viewers will never see and yet have to be factored in, designed, made and duplicated. This writer has always been a tad partial to a good villain’s logo. And those faux-corporate emblems are lovingly presented too including Zorin Industries’ try-out logos.

“I go with my instincts on every aspect of how I design films. It’s all emotional response to things”

Dennis Gassner, production designer on SPECTRE

SPECTRE is understandably not explored in too much depth this time round as a great many of its design and visual tricks are tied to its plot and story surprises. However, designer Dennis Gassner’s discussion of director Sam Mendes’s urge to explore “hot and cold” in the film makes utter sense for a Bond movie as does the use in Mexico City of those prime 007 colours – “red, black and white”.

As if it needs endorsing any more, this new champion of Bond production books also comes with a pair of glossy Ken Adam designs and a foreword contribution from Adam, Lamont and Gassner. The pen is indeed mightier than the sword.

 

Bond By Design – The Art of the James Bond Films

by Meg Simmonds

Dorling Kindersley

Published 1st October 2015

 

With thanks to Dorling Kindersley and EON Productions.

 

 

OFF THE WALL – Sam Smith is announced as SPECTRE’s title song performer

smith 2The official writing is finally on the wall with the announcement that British singer Sam Smith is performing  Writing’s On The Wall– the title song to the 24th Bond movie, Spectre.

Just like Adele before him, the multi-Grammy award winning British singer is a natural choice, a very current and high-selling choice and do not be surprised if Sam Smith is performing Writing’s On The Wall at next year’s Academy Awards ceremony. Just sayin’.

However, Smith of course strenuously denied such Bond associations, citing Ellie Goulding in a scent-diverting tactic. Other names were touted too – including the rather delicious prospect of Radiohead getting involved.

But the upshot was it was always Smith’s gig. Co-written very quickly with Smith’s co-writer Jimmy Napes (Stay With Me), the track allegedly took barely twenty minutes to structure with the end result being one of the proudest moments in Sam Smith’s career thus far.

He is the first British male solo artist in fifty years to perform a Bond tune, the first out performer and one of the youngest too.

For my fuller thoughts on Sam Smith’s casting as the Spectre title song artist :

OUT MAGAZINE : Off The Wall – Why Sam Smith entering Bond’s Thunderball of Fame is good news for Bond

BBC 5 LIVE :  Sam Smith ‘obvious choice’ for theme tune says Mark O’Connell

Writing’s On The Wall is available to buy and download from September 25th 2015.

CD and vinyl pre-orders are being taken here

SHAKING AND STIRRING – Belvedere Vodka named as 007 and SPECTRE’s new drinking partner

I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold, and very well made. I hate small portions of anything, particularly when they taste bad.”

Casino Royale by Ian Fleming, 1954

Under the apt PR guise “PROJECT TUXEDO”, the world’s luxury vodka brand Belvedere has announced its new global partnership with James Bond 007 and 2015’s SPECTRE.

“We are delighted to announce that when it comes to his martini, Mr Bond Knows The Difference” says Charles Gibb, President of Belvedere Vodka.

First created in 1993 when the taboos and trade boundaries of Cold War Russian vodka were lifting (and 007 was of course about to enter into an officially sanctioned marriage with Smirnoff – his and the Bond image’s on/off vodka of choice since 1962’s Dr. No), Belvedere Vodka has hit the ground running in its two decades tenure. Generating a new standard and thinking around vodka and its side industries and variants, Belvedere has quickly established itself as a bespoke vodka striving for excellence and distinctive character. Made in Poland from Dankowskie Rye and blended with water, Belvedere’s taste profile is a must for premium restaurants, eateries, bars, hotels and clubs. And now Bond fan gatherings, birthday lists and – yes, I asked – bachelor party libations.

In total, James Bond orders 19 vodka martinis and 16 gin martinis in Fleming’s work.

But as much as this is a cracking marketing angle for both Bond and Belvedere, there is more to this new relationship than sheer profile. Belvedere’s chief of mixology Claire Smith is ‘the first lady of vodka’. At a private demonstration of Belvedere and vodka martinis in an equally private Armed Forces private members club in London (and one with its own Ian Fleming links, of course), Smith proves not only her passion for vodka – and of course Belvedere’s new relationship with 007 – but that she wants the revival of the vodka martini to continue. According to Smith there is a momentum of interest in vodka martinis (no doubt revived by 2006’s Casino Royale and its presentation of the Vesper cocktail). People are wanting to know more from their barman, they are wanting to get that martini and their drinks right just for them. Like our evolving food tastes and knowledge, we are all wanting to know what is in our drinks. We are also moving away from that 1970s and 1980s menu of cocktails and spirits (there was no Babycham at the bar of this particular club).

SPECTRE cast banner 8

This new promotional pairing between SPECTRE and Belvedere is also about democratising the vodka martini – forever a perceived requisite of out-of-reach high-end establishments or disappointingly bad office party Bond nights with some bloke in a corner mixing drinks like Tom Cruise in Cocktail . Treated by bar consultancy and drinks wizard Joe Stokoe to three stunningly realised standards – a Dry Martini (stirred, not shaken), a Wet Martini and a Reverse Vesper – I was instantly able to discern the differences created by preparation and experience. My preference would be the Reverse Vesper (1 part Vermouth, 1 part Tanqueray and 3 part Belvedere vodka). A twist on the iconic Vesper (which is not necessarily the onscreen vodka martini Bond has always had), this Belvedere imbued cocktail was a saucy strapless dress of a glass – attention grabbing but refined with a whisper of Lillet and lemon rind.

“One medium dry vodka martini mixed like you said sir, but not stirred”

Dr. No, 1962

Claire Smith’s engaging and easy passion for mixing, presenting and augmenting vodka is all about creating “a dialogue” between the consumer and bartender. Smith spends time opening up the consumer’s confidence. She wants us to build relationships with our barman. How many of us have wanted to be James Bond and take our place at the bar with that just arrived poise only to fall at the first hurdle – confidence. One of the mainstays of Belvedere and tenets of Smith’s approach is to arm the consumer with the realisation that there are no rules. Bond’s own iconic shaken, not stirred vodka martini is itself an alleged faux-pas of ingredient-bashing excess. Some gin and martini scholars would have you believe stirring and not shaking is the end goal – that shaking can excessively aerate the core components. But Smith and Stokoe are quick to encourage “there are no rules”. What is one person’s martini foible at the end of the working day is another’s starting pistol or refreshing interlude before dinner. Know Your Martini is a recent mantra of Belvedere Vodka and one that equally applies to its marriage with Eon Productions and James Bond. The renowned vodka house wants more than just a fiscally beneficial union. “Vodka is so often overlooked as being neutral, anonymous. And vodka is so much more dynamic than that.” notes Smith. “The future of bar-tending lies in trying to find elegance and beauty and simplicity and making that compelling for the consumer to really get involved with. That’s really what I’m interested in.” Belvedere teaming up with Bond is more than commercialism. It makes bespoke, aesthetic sense.

MONTAGE

 

Of course the panic-peddlers and naysayers will all have their headlines primed about 007 selling out and movie producers taking product placement too far. The Heineken usage in 2012’s Skyfall was scorned by easy headline makers, but when a secret agent is in a backpackers beach bar in Turkey I am kind of assuming ordering a “vodka martini, shaken not stirred” is not quite going to cut it as much as a cold beer. It is worth noting too that Ian Fleming himself would drop in names and products – because they were part of his world and hence 007’s, but also because there is an immediacy and westernised reality about labels. Our homes and daily technology are bound by labels and familiar monikers. Why should 007 the character be  exempt from that? And why should 007 the film franchise not seek out and align itself with the finer leanings of a house like Belvedere? Belvedere join a rich array of Bond beverage “co-stars” including Bollinger, Absolut Vodka, Smirnoff, Macallan and Finlandia.

Head of Belvedere Charles Gibb is a quietly proud man right now. “It’s the size and scale of everything that is James Bond” – he notes – “This union is unique because an integral part of our brand and Bond’s character meet in this wonderful intersection called the Martini. The fact that Ian Fleming and Bond are credited with re-energising the building of what is today the modern-day Martini – and the vodka martini – I think that’s a very unique partnership, you don’t often find something with such a unique crossroads.”

And there is no fear of this business fit not finding the same enthusiasm and knowledge within the Bond family camp. “They certainly know their history of vodka“, remarks Gibb. “They certainly know their history of the martini. And they certainly know their way around a vodka bottle”. 

Belvedere Vodka 007 Launch Day 15-12-14 (23) (c) Mark O'Connell 2014 (1)

Gibbs continues – “the thing for me is we’re going to create our own advertising around it. What that looks like, how that looks is at the moment probably subject to another discussion“. Of course Gibbs, EON and Belvedere are being tight-lipped about just how their vodka will be incorporated into SPECTRE and maybe beyond (I tried to ask of the long term relationship, but ex-Army officer Gibbs is not going to spill this particular bottle of insight and, to be fair, 007 and Belvedere are merely at hand-holding first base right now).

BV_007_Silver Saber

Belvedere will produce two custom-made, limited edition bottles to celebrate Bond’s shaken, not stirred vodka martini and this new partnership with SPECTRE. A 007 twist has been added to Belvedere’s quite beautiful Silver Sabre bottles (they have their own light switch and vague hints of snow-globe flakes inside – I know, right!). The famous Belvedere Palace blue bottles and emblem will be replaced by that of MI6’s Vauxhall headquarters and in February 2015 a marketing campaign will launch with a focus on “on-premise establishments and retail stores” across the globe. Dwight Caines, Theatrical Marketing for Sony Pictures says, “James Bond’s cool attitude and stylish sophistication have always gone hand in hand with his choice of vodka martini. Belvedere is a perfect match“.

MONTAGE 2

To officially launch Bond’s new bond with Belvedere, a “smart and chic” party was held at Covent Garden’s Bond In Motion exhibition in December 2014. With Charles Gibbs, the CEO of Moët Hennessy Christophe Navarre in attendance (Belvedere is part of the LVMH group – Louis Vuitton Moët Hennessy), representatives from EON Productions and more in attendance the night was a slick and charming way of toasting 007’s newest marriage to the Polish house of vodka. The music decks were manned by one Tinie Tempah and the likes of Douglas Booth, Pixie Geldof,  Kim Hersov, Lily Cole and this Bond fan lent some star appeal to proceedings (I didn’t lend star appeal at all, despite sporting a suit in DB5 silver).

Tinie Tempah spinning / clicking some tunes (c) Mark O’Connell / 2014

Joe Stokoe was also on hand again to keep an eye on three martini bars spread amidst Bond’s car heritage, and various plinth-proud bottles of Bond vodka stood tall. Each bar had a theme – Wet/Dry, Shaken/Stirred and Reverse Vesper. Glimpsed was a new SPECTRE edition of Belvedere as well as the rarest of the rare – edition number ‘007’ of Belvedere’s Palace bottle. In true Elliot Carver launch style, Gibbs and Christophe Navarre unveiled the bespoke bottle just as Tempah filled the room with Kanye West’s Diamonds Are Forever (Diamonds From Sierra Leone).

Moet Hennessy's CEO Christophe  Navarre & Belvedere's Charles Gibb unveil the new MI6 bottle

Moet Hennessy’s CEO Christophe Navarre and Belvedere’s Charles Gibb unveil the rare ‘007’ edition of the equally limited MI6 bottle. (c) Mark O’Connell / 2014

Though one SPECTRE vehicle was sadly absent from Bond In Motion on the night. Resigned to the cloakroom for probable safety where it was surrounded by coats and satchels, SPECTRE and Blofeld’s Bath-o-Sub from Diamonds Are Forever was kept out of harm’s way and sadly didn’t get to see just how the new SPECTRE agents conduct themselves. Quite right too.

For more photos of the launch night and more go to Catching Bullets on Facebook.

With special thanks to Belvedere Vodka, Charles Gibb, Claire Smith, Remmert Van Braam, Joe Stokoe, EON Productions, Sony Pictures Entertainment and the Mission team.

www.belvederevodka.com

BV-ECMB-300

 

 

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