Writer, Author, Bond Fan

Category: James Bond (Page 15 of 17)

FOR YOUR EYES WIDE SHUT – SPECTRE and Team Eon win 2015’s teaser war in 97 seconds

 

“And anticipation is a big part of the appeal. To this day, the arrival of the Bond teaser trailer is a red letter day for me”

(Mark Gatiss, Catching Bullets – Memoirs of a Bond Fan)

Going viral round the globe quicker than Moonraker 5 or a Telly Savalas flu jab, the newly premiered trailer for SPECTRE hits the snow/water/gravel running and is surprisingly chaste for what could have played out as Skyfall II – Back To The Chapel.

SPECTRE

Simply pitched and lushly shot by DOP du jour Hoyte van Hoytem, this online teaser pre-title sequence to a further media campaign demonstrates an early sense of cool and story precision as well as a refreshing lack of falling masonry, arched eyebrow raising, car and lady jousting.

A destroyed MI6 building below The Fighting Temeraire’s oily horizon, Naomie Harris’s Moneypenny doing her subtext best with a flight recorder box of Bond’s salvaged memories and holiday selfies (though shouldn’t photos of a young Craig/Bond skiing show a bit more colourful 1980s exchange student ski-wear?), Bond at home and no doubt digging out his 1973 dressing gown (with his Live and Let Die coffee maker in one of those packing boxes), Bond being taken on a Who Do You Think You Are journey (there may be tears to camera before bedtime) and finding Catweazle – sorry, Mr White – hiding in an Austrian lodge not totally dissimilar (and wilfully so) to the interiors of Dennis Gassner’s 2012 Skyfall Lodge.

dk76vpj1o60hnpubbgrk

Though despite the obvious leanings to Ian Flemings’s Hannes Oberhauser (Octopussy and The Living Daylights, 1966), climbing accidents, parental loss, orders of “Temporary Guardianship” and Monica Bellucci marked out in a sort of Bertolucci-framed grief there is a delicious additional sense of baroque villainy already in place in this newest 007 bullet. No doubt taking the tonal baton started by writer John Logan (who wrote the arched dialogue between Silva and Bond in Skyfall) SPECTRE looks to have an apt and shadowy sort of medieval sense of occasion guided by secretive, enclaved traditions (not totally un-removed from how Bond trailers themselves step out from the online wings). There is also that deliciously arched sense of dialogue and statement, in part from Logan’s pen. Oh, and Judi Dench’s M looks to be all over this film. Just sayin’.

I always knew death would wear a familiar face, but not yours

– Mr White, SPECTRE

No three pronged Walther PPK’s, no Thunderball droids, no CGI Aston Martins cascading through a signature theme. This ain’t The Sith Who Loved Me. This is pared down Bond, the Masters Year of Daniel Craig’s four film tenancy (so far). And is this the fully fledged return of Ernst Stavro Blofeld (after all he’s had 34 years to escape Beckton Gas Works – or the McClory legalities as they are also known) or have Eon Productions, director Sam Mendes and the writers got a few white cats of intrigue up their Mao sleeves (and yes, that is a Mao collar on Christoph Waltz there, no?). Well it better be!

One thing that is less evident as the trailer concludes with Bond stepping into a cultish invite-only Eyes Wide Shut territory is that the seated silhouette of Christoph Waltz about to do The Voice on 007 (“you owned that song, Mister Bond“), is we cannot yet see the rugs of surprise that are about to be pulled from under James Bond 007.

3895702_the-teaser-trailer-for-spectre-is-here_45059d09_m

“Welcome James. It’s been a long time. And finally here we are”

SPECTRE is released in the UK in October and around the world from November.

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

 

 

BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN exhibition to open in Berlin

Ken-AdamThe art, craftsmanship and genius of production designer Ken Adam cannot be overlooked. Of course his legacy and links with the Bond films goes without question, but so too does the grip and influence he has to this day on film and public architectural design (London’s Canary Wharf is allegedly modelled on the Ken Adam style).

ken adam 2Opening in December and continuing until May 2015, BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN is a new exhibition housed at Berlin’s Deutsche Kinemathek. In 2012 Adam gave his entire artistic output to the Deutsche Kinemathek – including more than 4000 drawings, personal documents, sketches and designs for such titles as GOLDFINGER, THE SPY WHO LOVED ME and MOONRAKER plus his non-Bond work including BARRY LYNDON, THE MADNESS OF KING GEORGE (for which Adam won the Oscar), ADDAMS FAMILY VALUES, DR STRANGELOVE and unused artwork for PLANET OF THE TITANS (which became STAR TREK THE MOTION PICTURE) and more.

“When you do a scribble and everything seems to work … that is the most exciting part“ – Ken Adam

A full catalogue accompanies the exhibition featuring essays by renowned authors on a diverse range of previously unexamined aspects of Adam’s career – such as the artistic roots of his Gesamtkunstwerk and his influence on art, design and architecture. The catalogue will be available to buy.

BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN

Deutsche Kinemathek / Dec 2014 – April 2015

For more on the Deutsche Kinemathek, click here.

Deutsche Kinemathek
Museum für Film und
Fernsehen
Potsdamer Str. 2
10785 Berlin

SIR_KEN_ADAM_NPG

Reviewing THE SILENT STORM – Neon Films / Eon Productions new drama

storm 5Balor (Damian Lewis) is an anachronistic reverend, ex-naval officer and turn of the century bible-thumper. Pitched in a post WWII world of revived gender, sexual and even atheist confidence, Balor is a defiant Presbyterian cart-horse charged with keeping afloat the dwindling Christian instincts of an unnamed Scottish island (though shot on the Isle of Mull) in an unnamed year. “To expect happiness in this life is a form of arrogance” says Balor to a life-weary parishioner. Married to Aislin (Andrea Riseborough), Balor is both stranger and religious drill sergeant to his kindly spouse. Recovering from the loss of their child singlehandedly, Aislin is dutiful but privately proud of her resistance to Balor’s sense of a God. Hers is a world of nature and nurture, of quietly ignoring her husband’s sense of Christ and the medieval guilt that comes with it. But such defiance comes at a price – and one Aislin has long assumed is her lot to accept in a world without friends and where leisure time and reading in the bath is heresy.

silent stormEnter Fionn (newcomer Ross Anderson), a strapping, ex-shipyard tyke assigned by mainland naughty-boy wrangler Mr Smith (a far too brief John Sessions) to possibly reform, or at best learn the error of ways he knows were never errors. Respectful and patient himself, the hardworking Fionn admits to sorting contraband for the dockers and shipmen of his orphaned youth whilst learning all about women along the way – an admission that betrays a quietly curious Aislin and her lack of decent male contact, be it physical or emotional.

Pallid and glacial in his emotions, Damian Lewis’s Balor is cut from a similar cloth as Stanley Baker in Zulu or Richard Harris in This Sporting Life – marked by a simmering and very British onscreen masculinity at increasing odds with a femininity and modernity he cannot control. Prone to bouts of [almost] Pythonesque martyrdom (almost because the hyperbole levels are deliberate) and Calvary-inspired physical acts, Lewis creates a crumbling bull of a man at odds with the modern world and the breakdown nailing him to his own cross. A cracking sequence sees Balor singlehandedly haul the contents of his austere chapel onto his own Ark – and one with no dove of peace or chance of salvation.

Riseborough’s Aislin is less clear-cut. Equally pallid yet not the indulgent witch she is painted as, Riseborough plays the God widow with a sympathy that avoids sentiment. With her abilities to cure an ailing ram through herbs rather than prayer, Aislin is at one with the nature of an island she equally loathes. As all her femininity is almost pared away, Riseborough’s wife holds an earthly wisdom and controlled sexuality that grates with husband Balor. Aislin knows that God is not found on the hard wooden pews of a remote chapel but the private herbs, fauna, flora and respect for others she surrounds herself with. Ross Anderson’s Fionn is possibly the soul of the film. Handsome, agile yet still the child who can be scolded, Anderson allows Fionn to become the audience’s entry point to a sad story of a couple that already feels over when the film opens.

Writer/director Corinna McFarlane forever steers the emotions of The Silent Storm (or clear lack of them) to various cliff edges of revelation or despair, but often pulls back from what is expected when telling the tale of such matrimonial decay (a rot that has mostly already set in before the film starts). The burgeoning friendship between Aislin and Fionn is loaded with preconceptions that do not always manifest where moments of reconciliation and hope are often swiped aside. The tonal upshot is ultimately one of emotional honesty and a romance not always dealt the obvious cards by the writing. At times reminiscent of the God/protagonist divide of Peter Mullan’s Orphans, The Silent Storm is never a sermon.

storm 4Cinematographer Ed Rutherford’s stark palette of pastel blues, enamel tea cups, grained chapel pews and ashened skies of course underline the film’s characters and McFarlane’s intent but never over-define it. Just as Aislin’s lot verges on a Dickensian misery, Rutherford and McFarlane refresh proceedings with rich burnt oranges, greenery and beautifully shot flora and fauna. A treasured book of poetry is prized by Fionn because of its contents, but McFarlane’s eye marks it out simply because it is blue in a palette of Calvinistic browns and greys.

Likewise, Sharon Long’s costume work is a sallow wardrobe of braces, reverend bibs, collars and hair ties holding back the emotions within just as long as things look in order to the outside world. Credit too must go to Alistair Caplin’s blustering, Calvinistic roar of a score. At times intrusive and almost too heavenly in its bombast it also reminds – like Riseborough’s Aislin – that God is in every cliff edge, moss-covered tree, cave nook and mountain stream. Providing a more contemporary Celtic sound than the film’s austere visuals, Caplin’s orchestral and choral work (he contributes his own vocals more than once) ably serves the film with a hope and religious scope The Silent Storm needs to work before it can pull it down. Or at least kneel before it with what it knows and wants us to know about the human condition and spirit.

Developed and produced by Barbara Broccoli, Michael G Wilson, Eon Productions and producer Nicky Bentham, The Silent Storm is a sparse but progressively forceful work.

The Silent Storm – a Neon Films production in association with Eon Productions and West End Films.

The film opens in the UK on May 20th 2016.

The Silent Storm’s world premiere was held during the 2014 London Film Festival with Damian Lewis, Andrea Riseborough, Ross Anderson, Corinna McFarlane and Nicky Bentham on hand to introduce the film to the gathered crew, artists, executive producers and at least one James Bond.

Photo © Mark O’Connell / 2014

Photo © Mark O'Connell / 2014

Photo © Mark O’Connell / 2014

Photo © Mark O'Connell / 2014

Photo © Mark O’Connell / 2014

Photo © Mark O'Connell / 2014

Photo © Mark O’Connell / 2014

Photo © Mark O'Connell / 2014

Photo © Mark O’Connell / 2014

The film with the Midas Touch – GOLDFINGER @ 50

Goldfinger @ 50

 

A Sunday in March, 1964

Auric Goldfinger’s Ford Country Squire station wagon motors its charge along Main Street on a Sunday afternoon, passing the Embassy Picturehouse and pulling up dutifully at the lights. Its Mustang poppy-red and faux wooden panelling is 1960s Ford personified and the car’s wide dimensions spill into neighbouring lanes of traffic.

But this is not America. And the car’s fictional owner Auric Goldfinger is not at the wheel. Nor is his fictional chauffeur, Oddjob. James Bond is not even sat captive on the back seat as he does in Goldfinger.

This is Esher, Surrey. The year is indeed 1964, but Jimmy O’Connell is driving, his wing man is my Uncle Gerald and my dad, John, is sat in the back. The locals frequenting the pubs of Esher – including Jimmy’s much-loved The Bear – are most intrigued by the left-hand drive and Yankie expanse of the Ford …. and how it handles “like a tart’s waterbed on wheels”. Not very James Bond.

(extract from Chapter 8, Catching Bullets – Memoirs of a Bond Fan)

http://www.youtube.com/watch?v=eszhV1M3Dk8

“Like all institutions that must safeguard their survival, the Bond series adapts and adopts. Three films in and we already recognise where the villains, heroes and those in between are positioned. The film’s glossy calling-card of dousing Jill Masterson (Shirley Eaton) in gold paint is not just a proficient and nasty way of telling the audience all we need to know about Auric Goldfinger. It tells us what this film series now wants to be – bespoke action adventures, a little bit kinky, a little bit violent, often original, always stylish, yet forever aimed at mass audiences. The Bond films are now in the business of showing their intent rather than telling it.”

(extract from Chapter 8, Catching Bullets – Memoirs of a Bond Fan)

Reviewing SHOOTING 007 – AND OTHER CELLULOID ADVENTURES

There is a refreshing honesty to Alec Mills’ writing and it is an honesty predicated on making no bones of not being honest. Part compelled by the books that have emerged from his film industry peers and pals, and part inspired by realising (and believing) his career as one of Britain’s key camera operators and directors of photography will have hold enough anecdotal momentum for the retirement project of penning a book, Shooting 007 And Other Celluloid Adventures pulls a compelling focus on one of the most interesting periods of British mainstream cinema.

The self-deprecating “young fool” that so many of Mills generation purport to be – the likes of Peter Hunt, Lewis Gilbert, Terence Young, Bryan Forbes and John Glen – are also key participants in some of British and Western cinema’s celluloid landmarks. Born in 1932, Mills’ economically details how his film and television career was a gem-specked array of luck, fortune and hard bloody work. From a clapper loader for John Huston in Moby Dick and Powell and Pressburger’s The Battle of The River Plate (both 1956) to focus pulling for Joseph Losey, Ken Annakin, J Lee Thompson and Michelangelo Antonioni (1966’s Blow Up) and then eventually becoming camera operator on The Saint, Where Eagles Dare, Carry On Cleo, Chitty Chitty Bang Bang, The Private Life of Sherlock Holmes, Gold, Shout At The Devil, Aflie Darling, The Awakening and Eye Of The Needle – Alec Mills has been either partly or wholly responsible for more than his fair share of iconic cinematic imagery. But like all folk fortunate enough to call this world their life, it is the relationships, dramas, learning curves (always check whether a “gelatin filter” has slipped or not) and friendships that mark the successes, not the box office tallies for the suits in Burbank and Wardour Street.

And it is not all Home Counties back-lots and camera dramas by the tea urn. Mills details working for Disney on such “fantasy land” pictures as Swiss Family Robinson (where Mills made the Disney football team under “team manager” John Mills), Greyfriars Bobby and The Prince And The Pauper – an era of photography one could argue is later evident in the rich, bright and near-Technicolor hues of the two Timothy Dalton Bond movies Mills lensed in the 1980s. And of course he was the camera operator on that barely noticed b-movie by the name of Return of the Jedi (1983). Mills uses that particular experience to kindly suggest none of us get on with everyone in life, and just how damning a cold shoulder can be on a film gig that can last for months. Likewise, Mills explores the tempers and “war of words” with director John Guillermin on the set of 1978’s Death on the Nile, only to be curiously called up again by the director in 1986 to lens his doomed King Kong Lives (“was he taking this opportunity to settle an old score and sack me?”).  For some reason the line “Linda Blair arrived from Hollywood to complicate matters” is an intriguing bon mot and indicative of the book’s honesty and swift ease in moving through its subjects.

It is around this point in Shooting 007 that Mills recounts the life luck of Bond director John Glen urging Mills to come out of semi-retirement to camera operate Octopussy in 1982. Having been an operator five times for Eon Productions and the Bond movie-machine, Mills was subsequently invited twice to perform director of photography duties on Timothy Dalton’s Bond bullets, The Living Daylights (1987) and Licence To Kill (1989). It was an invite initially delivered by Ken Adam on the set of King Kong Lives and one Mills proudly notes, “I was lost for words; this had to be the most exciting time since I came into the industry in 1946”.

The encouragement and support of his wife Suzy does not go unnoticed – almost acting as Mill’s very own light meter, checking for a truth and a through-line of narrative. When Mills is in doubt at his own recollections and the need to even discuss close [and not so close] colleagues, a curious interaction between author and his use of stories peppers the writing. There are frequent junctions in Shooting 007 buoyed up by the author questioning why such and such a detail is even necessary. Intentional or not, it makes for an absorbing, almost too apologetic biography. From WWII childhood to dashing from afternoon trips to the pictures to make evensong and that first tea boy / clapper loading apprenticeship at Carlton Hills Studios (where Mills had already joyously worked out his first wage packet represented “twenty one visits to the cinema, sitting in the front seats!”) via an asthma-induced and maybe welcome “discharge” from the Navy in the early 1950s all to a subsequent and timely film industry fortune in the guise of a nine year apprenticeship under famed cameraman Harry Waxman BSC (Father Brown, The Roman Spring of Mrs Stone).

And of course it makes an apt requirement that a book about a director of photography should feature a rich array of photographs, with Mills’ metaphorical light meter checking throughout for matching anecdotes and prime conditions to discuss and highlight (including some of his own on-set photographs). From a great early snap of Mills standing in for Octopussy’s Kristina Wayborn with a jokily amorous Roger Moore (complete with Mills clutching the Faberge egg behind his back) to the rich roster of many an unseen Bond-on-set still from the Eon/Danjaq archives, globe-trotting camera gigs for Swiss Family Robinson, candid shots of Peter Sellers perched atop a king’s throne nursing a brandy and having an Aboriginal tracker whip in half a cigarette in Mills mouth whilst shooting Rank’s Robbery Under Arms, Shooting 007 is a personable tour of cinema peppered with what ‘Camera A’ doesn’t see. Or wouldn’t see.

A welcome addition to that generation of post-war film-makers and creatives who possibly bridged the old and the new, the old school way of making pictures versus the world of new technologies, new management structures and story needs, Shooting 007 And Other Celluloid Adventures is a brisk, upfront but detailed read about a very different time of British-based cinema.

Shooting 007 And Other Celluloid Adventures by Alec Mills is published now by The History Press.

Catching GOLDFINGER throughout the world on its golden jubilee

Following on from fiftieth anniversary screenings in Nottingham, Adelaide, Calgary, the Florida Film Festival, Edinburgh’s famed Cameo Cinema, at the Egyptian in Hollywood and Norway already in 2014, many other global cinema-spots are getting out the gold paint to mark the golden anniversary of the classic 007 blueprint, Goldfinger with their own special screenings.


PLEASE NOTE THIS EVENT AND SOME OTHERS HAVE NOW PASSED.

Marking the first time a restored vintae Bond film has been screened in this style in Norway, organizers Morten Steingrimsen and Anders Frejdh are pleased to announce that the film’s production designer Ken Adam (countless iconic Bond films as well as Dr Strangelove, The Madness of King George, Barry Lyndon) and his biographer Sir Christopher Frayling (Ken Adam Designs The Movies). This is the first time Adam has come to Oslo in this context and organisers are justly excited. Joining Adam and Frayling will also be Norman Wanstall (Oscar winning sound designer on Goldfinger) and Margaret Nolan (Bond’s first girl, Dink and title sequence star) will also be in attendance. Adam, Wanstall and Nolan will participate in a Q&A following the screening. The British Ambassador in Norway, Ms. Jane Owen, will also be in attendance to open the festivities.

‘Forventer du at jeg skal snakke?’

‘Nei, Mr Bond, jeg forventer at du skal dø!’

The May 22nd screening and Q&A will be a closed and exclusive event for 292 invited guests. The film will be shown with a newly restored version and all manner of 007 accoutrements will fill the evening in apt style.

A public screening will follow on May 23th – with Norman Wanstall and Margaret Nolan also in attendance.

For more information, click here.

Goldfinger

Oslo Kino, Oslo

May 22nd & 23rd August 2014

8.00pm

PLEASE NOTE THIS EVENT HAS PASSED.


Birmingham’s Botanical Gardens in Alabama is launching Flicks Amongst The Flowers with their first film taking viewers back to the decade the Gardens were founded for their screening of Goldfinger.

The free event will take place in the Formal Garden in front of the newly renovated Conservatory.

“Couples are encouraged to enjoy a unique, themed menu created by Kathy G. which includes “Gold Dust” Truffle Popcorn, Homemade Parmesean Potato Chips, the “Operation Grand Slam,” a unique take on the Cuban sandwich and a Smoked Portabella Panini. The evening’s drink menu will include beer, wine, champagne and martinis” (www.bbgardens.org)

Gates open at 6 p.m., and the film begins at 7:30 p.m. Visitors are encouraged to bring a blanket and find a spot on the lawn to enjoy the film.

For more details.

Goldfinger

Botanical Gardens, Birmingham, Alabama.

May 16th 2014

7.30pm / Free

PLEASE NOTE THIS EVENT HAS PASSED.


And the American Film Institute (AFI) is getting itself in on the celebratory action with three nights of screenings also this May at its Silver Theatre in Maryland, US.

For more details.

Goldfinger

American Film Institute @ Silver Theatre, Maryland, US

May 23rd, 26th & 29th 2014

8.30pm / £18 & £30

PLEASE NOTE THIS EVENT HAS PASSED.


London’s Courthouse Hotel is proud to present their Cinema Club’s own summer showing of Goldfinger in their unique venue.

For more details.

Goldfinger

Courthouse Hotel, London

June 7th 2014

Evening / Cinema Club members only

PLEASE NOTE THIS EVENT HAS PASSED.


London’s Grosvenor Square (home of the real US Embassy) is the setting for The Nomad Cinema’s pop-up cinema screening of Goldfinger. Founded to give 100% to charities, The Nomad Cinema is a roaming cinema experience, setting up camp in the strangest of settings to bring cracking cinema to movie fans. Please note – this screening is silent with Wi-Fi headsets.

For more details.

Goldfinger

The Nomad Cinema (Grosvenor Square)

Thursday 10th July 2014

8.00pm / £16.50 (all profits go to the Sustainability

Institute)


Not to be outdone, the savvy and retro minded Cinespia is hosting a downtown Los Angeles open air screening of the film in perhaps one of the most unique locations Goldfinger has ever been shown at. The film is being screened outdoors on Fairbanks Lawn, a field inside the Hollywood Forever Cemetery (and a stone’s – or hat’s throw – from Paramount Studios). Bring blankets, pillows, picnic and drinks. Wine and beer is permitted, but no spirits please. DJs spin the decks as the sun sets and after the film too.

For more details.

Goldfinger

Cinespia @ the Hollywood Forever Cemetery (6000 Santa Monica Blvd)

Saturday 12th July 2014

7.00pm doors / 9.00pm screening / $14


And hot on the golden heels of these Goldfinger events comes news from London that Luna Cinema in association with the Regent’s Park Open Air Theatre is screening the 1964 classic. To mark the 50th anniversary of Goldfinger, arguably the most iconic Bond film of them all, famed outdoors exhibitors Luna Cinema presents a special celebratory screening in the unique tree-lined setting of Regent’s Park Open Air Theatre on Sunday 17th August 2014 at 8.30pm.

For more details.

Goldfinger

Regent’s Open Air Theatre, London

Sunday 17th August 2014

8.30pm / £18 & £30


Illinois’s Classic Cinemas’ Paramount Theatre is holding a Bond weekend. Beginning with a newly restored version of Goldfinger in the evening of September 5th, the weekend is also screening The Man with the Golden Gun and The Spy Who Loved Me (both on Sunday 6th September 2014).

For more details.

Goldfinger

Paramount Theatre, Kankakee, IL

Friday 5th September 2014

7.15pm / $5


Masterminded by the Swiss 007 club, James Bond Club Schweiz, their Goldfinger – Reloaded event forms a full day of all things golden. Beginning with a location bus tour (following the famed mountainous Furka Pass route of the Swiss-bound cars in the film’s first act – including the DB5), the day also involves a meet and greet with Oscar winning sound designer Norman Wanstall and Bond actress Tania Mallet (Goldinger‘s Tilly Masterson), plenty of photo opportunities, a three course dinner and more…

For more details.

Goldfinger Reloaded

6490 Andermatt, Furkapass/Schweiz

Saturday 13th September 2014

12.00pm  / 190 Euros


From the James Bond Club Deutschland, comes a September screening of Goldfinger at the UFA Palast, Stuttgart. With Bond fan Danny Morgenstern, cars and a Vodka Bar on standby, the day’s events start at 3pm.  For more details.

Goldfinger

UFA Palast, Stuttgart

Saturday 27th September 2014

From 15.00pm  / 8 Euros


 

 

« Older posts Newer posts »

© 2025 MARK O'CONNELL

Theme by Anders NorénUp ↑