Writer, Author, Bond Fan

Tag: Barbara Broccoli (Page 5 of 5)

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

 

 

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

Those Magnificent 007 Men in Their Flying, Driving & Diving Machines – CATCHING ‘BOND IN MOTION’

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“I’ve had some optional extras installed”

Aston Martin V8, The Living Daylights (1987)

From the opening shot of the opening Bond movie Dr. No (1962) where three “blind” assassins trundle on a mission of murder across traffic before cowering in a private members club car park, James Bond’s onscreen romance with automobiles was a given. Instantly part of the machismo, panache and kinetic pace of 007, these various fold-up planes, model trains and high-end automobiles are now Bond’s necessary co-stars, sidekicks and maybe even love interest. In 2012’s Skyfall, the fiery death of the Aston Martin DB5 was lent nearly as much impact as the onscreen death of Bond’s wife Tracy forty or so years before. It was certainly as shocking. Maybe. And an earlier reveal in a London lock-up got the biggest cheer in many a screening of Skyfall, including a right royal applause on premiere night.

“I hope my back end will stand up to this!”

Mercury Cougar XR7, On Her Majesty’s Secret Service (1969)

Mercury Cougar XR7, ON HER MAJESTY'S SECRET SERVICE (Photos © Mark O'Connell / 2014)

Mercury Cougar XR7, ON HER MAJESTY’S SECRET SERVICE (Photos © Mark O’Connell / 2014)

So it now makes perfect sense for 007 creative house Eon Productions to celebrate Bond’s various vehicular speeding bullets with the London Film Museum’s newly launched exhibition, Bond In Motion. A collaboration between both parties (following a highly successful and extended run at the National Motor Museum in Beaulieu through 2012 and 2013), Bond In Motion is the largest official collection of original 007 vehicles and a rich pageant to some of cinema’s most iconic cars. And planes. And motorbikes. And jet packs. And speedboats. And underwater tow-sleds. And that crocodile submersible thing.

“No, some men just don’t like to be taken for a ride”

Thunderball  (1965)

Overseen by Raoul Silva, GOLDENEYE’s Aston Martin DB5 and the scale model of the same car as used in SKYFALL (Photo © Mark O’Connell / 2014)

Kindly invited by Eon Productions and the London Film Museum to a recent preview of Bond In Motion, the day quickly grew faster than an Aston Martin’s self-inflating tyre with surprise reunions, typical Bond glamour, some welcome bubbly and a possible nugget or two of news about October 2015’s Bond 24. Granted a quieter session of grace to fully take in the whole exhibition before the world’s press descended like Japanese ninjas, it was a welcome opportunity to chat to the gathering Bond alumni, particularly top Eon archivist and the ‘M’ of the various Bond exhibitions travelling through the globe, Meg Simmonds. Added to that production designer Peter Lamont, stunt driver and 007 fan Ben Collins (who currently doubles for Daniel Craig and took part in the frenetic Italian road chase in Quantum of Solace), Casino Royale‘s Caterina Murino (who does not have a fear of hammocks as I first queried but does admit they are awful for reading in), current Moneypenny and all-round car wrecker herself Naomie Harris, husband and wife stunt legends Vic Armstrong and Wendy Leech, 007 producer Gregg Wilson, special effects head Chris Corbould (who was able to answer another pressing query of mine – namely, ‘did we do our Christmas shopping last year at the same place?’ … we did), actress Maryam D’Abo (Kara, The Living Daylights), writers Robert Wade and Neil Purvis (Skyfall, The World Is Not Enough) and soon to be three-time production designer Dennis Gassner (following on from Quantum Of Solace and Skyfall).

© Mark O'Connell 2014

“Boy with toys” – Various souped up examples of Bond machinery from THE WORLD IS NOT ENOUGH, THE SPY WHO LOVED ME and SKYFALL.
(Photos © Mark O’Connell / 2014)

Amidst all the fantasy apparatus and Q-Branch hardware, this Bond author chose instead to not chat to Peter Lamont about his favourite Bond car or maybe even the prop that caused him the most design grief. No, this Bond film author chose instead to take the opportunity to chat about the Octopussy bed (all spray-painted polystyrene and destroyed not long after filming… criminal, I know). Cutting a far too youthful gait for someone in his eighty-fifth year, the now retired Lamont (Titanic, Aliens) was glad to have gone out on 2006’s Casino Royale, which he suggests is one of his best Bonds. That film’s presence is certainly marked in Bond In Motion by one of the Aston Martin DBS’s used for that film’s record-smashing multiple roll, and the curious magic-shattering add-ons necessary to make it happen.

The different phases of Bond production design – all perfectly underlined by Bond In Motion – have always held a fascination. Not just for me, but cinema audiences, design students, new directors and cineastes the world over. Ken Adam’s influence on design (and not just cinema) is immense. Globally renowned architects often cite him as an influence, his bombastic war rooms and HQs are no longer a retro fantasy (The Avengers Assemble and Inception certainly owes him a debt – or an apology), Apple’s flagship stores ape his style, and material contradictions and angular excesses are all over the likes of London’s Canary Wharf tube station.

Ken Adam’s iconic designs @ The Storyboard Gallery, BOND IN MOTION (Photos © Mark O’Connell / 2014)

To witness Mr Adam arrive – and equally cutting a far too youthful gait for his ninety-three years – to a warm welcome from Peter Lamont and current 007 designer Dennis Gassner was a moment to treasure. Clearly, Bond producers Barbara Broccoli and Michael G Wilson couldn’t have been happier to mark such an exhibition with three generations of 007 designers in attendance and some of the most famous examples of all their work flanking proceedings.

(L) Artists Royale : a rare and special moment for BOND IN MOTION. 007’s top production designers (Dennis Gassner, Ken Adam & Peter Lamont) unite with Barbara Broccoli and Michael G Wilson to prove the charcoal sketch pen is always mightier than the sword.
(R) “So how many Oscars have you got?” – Dennis Gassner, Ken Adam & Peter Lamont catching up in the BOND IN MOTION café.
(Photos © Mark O’Connell / 2014)

And of course Bond producers Barbara Broccoli and Michael G Wilson were on hand to proudly talk up Bond In Motion for the press, the legacy of all these cars, their own favourites and what the likes of CUB 1 means to the Broccoli family and the history of Bond film production. Naturally the question of 007’s immediate future came up and the astute pair were traditionally coy. However, Wilson confirmed that Bond 24 – Daniel Craig’s fourth spin of the wheel – will feature a brand new Aston Martin. Writer John Logan is indeed hard at work on the script with Daniel Craig crucially inputting as before, the process of casting a villain will begin in earnest in the next few months, the production is based at Pinewood Studios and the film is based on an “original story”. Broccoli declared how this is “the fun bit” – where casting, story arcs, choosing the various creatives and heads of department, planning the stunts and feel of the film is debated and planned to get into enough shape for the commencement of principle photography in the Autumn.

Flanked by the family wheels (CUB 1 - as seen in A VIEW TO A KILL, THUNDERBALL and CATCHING BULLETS), 007 producers Barbara Broccoli and Michael G Wilson chat to the press about all things BOND IN MOTION ( / Photo © Mark O'Connell / 2014)

Flanked by the family wheels (CUB 1 – as seen in A VIEW TO A KILL, THUNDERBALL and CATCHING BULLETS), 007 producers Barbara Broccoli and Michael G Wilson chat to the press about all things BOND IN MOTION
(Photos © Mark O’Connell / 2014)

Unfortunately, the gathered Eon ensemble will not be on hand when the doors properly open for the public. But rest assured, there are enough vehicular stars, shiny beauties and colourful flying co-stars on display to keep every Bond fan boy and girl, man and women completely happy. Oh, and the gift shop – don’t let me forget the gift shop! And the ‘get your own gunbarrel pose’ photo room (complete with tuxedos, oh yes).

One [not] careful owner : an Aston Martin DBS, a SPECTRE Bath-O-Sub & a Ford Mustang, BOND IN MOTION (Photos © Mark O'Connell / 2014)

One [not] careful owner : an Aston Martin DBS, a SPECTRE Bath-O-Sub & a Ford Mustang, BOND IN MOTION (Photos © Mark O’Connell / 2014)

Astutely situated in London’s Covent Garden (and a gearstick’s length from Bond director Sam Mendes’ current West End hit, Charlie and The Chocolate Factory), from the moment one steps off the street into the immersive and white gallery space of 45 Wellington Street, it is instantly apparent just how much thought and design care has gone into Bond In Motion. Multiple screens herald and celebrate 007’s car moments, Bond anthems are all around you and a 1/3 scale (but still sizeable) model of Skyfall’s Augusta Westland helicopter hangs very carefully on an equally sizeable hoist. Incidentally it was the same hoist that lowered each and every car into the exhibition space in what Bond In Motion’s very own Q – the London Film Museum’s Jonathan Sands – admits was a sweaty process as each car had its own weights, structural concerns and no doubt insurance premiums. And it is the very idea of logistics and planning that sees an upstairs gallery space dedicated to numerous storyboards and design thinking from Bond’s transport options over the last six decades. Including sketches and vehicle concepts by Bond production designers Ken Adam, Peter Lamont, Peter Murton and Syd Cain, the collection contains some top notch examples of 007 artistry from the Eon Archive – some of which has never been seen publically before, such as all that now remains of Thunderball’s SPECTRE yacht, the Disco Volante.

“That look like a boat stuck in the Sheriff’s car there, Eddie?”

Glastron V-162 Futura, Live and Let Die (1973)

Sgt Pepper’s lonely boat club banned….The Glastron GT-150 speedboat from LIVE AND LET DIE
(Photo © Mark O’Connell / 2014)

With an optional tour guide cell-phone ably guiding those that opt for the pre-ordained flow, Bond In Motion takes off proper when one ventures downwards into an underground Aladdin’s cave of 007 delights. Filling a labyrinthine space that once housed a vast flower storage warehouse (serving the Covent Garden’s famed trade) this is now the London Film Museum’s chamber of 007 secrets, an apt underground garage housing the capital’s most expensive run-arounds. Flanked by Auric Goldfinger’s beautiful 1937 Rolls Royce Phantom III (which Bond producer Michael G Wilson drove himself to the Skyfall premiere in October 2012) and the all-important Rolls Royce Silver Cloud II aka “CUB 1” from 1985’s A View To a Kill (which due to a familial link is one of the key players in my own Catching Bullets – Memoirs of a Bond Fan), this exhibition very quickly lays it cars on the table with a luxuriant bombast.

“Little Nellie got a hot reception. Four big shots made improper advances towards her, but she defended her honour with great success”

Wallis WA-116 Agile, You Only Live Twice (1967)

Little Nellie causing a big stir, BOND IN MOTION (Photo © Mark O'Connell / 2014)

Little Nellie causing a big stir, BOND IN MOTION (Photo © Mark O’Connell / 2014)

Of course the original factory-floor artistry of these Aston Martins, Lotus Esprits, BMWs, Cougars, Mustangs, Jaguars and Roll Royces speak for themselves. Most of the gathered vehicles here deserve their own pedestal whether they shared screen time with Sean, Roger and Daniel or not. Albert R Broccoli’s very own CUB 1 is a beautiful example of early 1960s car-tistry, regardless of her two Bond film appearances – a lush metallic zeppelin of curves, passenger head room and corners. Likewise, the various incarnations of Aston Martin’s famed relationship with Bond never ceases to amaze even the least car savvy of punters for their sleek aesthetic and low-lying finesse. Rest assured, Bond In Motion is not solely for Bond or film fans. This writer is no petrol head, but the way this exhibition presents itself, the way it allows itself and its visitors room to breathe and let these cars tell their own derring do tales is a key lure for the slightest of Bond geeks. Because this is Eon’s Bond and because their own filmmaking ethos dictates the real thing being real at all times where feasible, this collection is also a high-end reminder of the opulence and quality invested in each new film. There are no Smart cars or family friendly Skodas here. This is an A-grade ensemble of vehicles. The investment Eon pumps into its various filmic projects is no more apparent than in this exhibition.

“Ejector seat? You’re joking!”

Aston Martin DB5, Goldfinger (1964)

Of course a great many of these vehicles come with – as 1987’s Bond Timothy Dalton remarks – “a few optional extras“. An added joy is seeing just how the various special effects gurus and design heads over the decades have souped up cars that are so damn cool they didn’t need accessorising. Yet this is the world of James Bond and witnessing the fantasy of that up close is a major plus point of Bond In Motion. So of course the various added missile launchers, studded tyres, ski supports and revolving number plates mark these already special cars as being just that bit more special. Take your time to study the exhibits and props. The amount of detail put into a GoldenEye train, model helicopter or a nearly throwaway Brosnan surfboard is as important to this exhibition and understanding the effort spent on Bond as the smooth fender of an Aston Martin DBS or a Mustang’s red paint job.

One of these looks stunning emerging from the surf. The other is a Lotus Esprit from THE SPY WHO LOVED ME (Photo © Mark O’Connell / 2014)

“Ever heard of Evel Knievel?”

AMC Hornet, The Man With The Golden Gun (1974)

(Photo © Mark O’Connell / 2014)

All delicately lit with aptly positioned montage screens and film friezes adding individual Bond film context, each car is often showcased with visitor access as key. Whilst petting the exhibits will no doubt be frowned upon, this is not an exercise in keeping the public at bay. With a loose theme for the various zones – water, the DB5s (there is more than one), bikes, ski-doos and Skyfall Honda bikes, the destroyed DBSs (the Daniel Craig Astons are invariably Royale-y trashed) and all punctuated with props, miniatures, random helmets, jetpacks and cool piton guns – this exhibition has its own natural flow with a breathing space between these four and two wheeled beauties and plenty of photo opportunities for everyone’s 007 fantasies. Museum head Jonathan Sands has a self-declared fondness for the Roger Moore era (good man) and there is a fun array of 1970s Roger-mobiles. Likewise, there is a lot of Connery kit, particularly showcasing the design alchemy genius of one Ken Adam. Like the quirky cousin that must be in every family photo, You Only Live Twice’s famed gyrocopter Little Nellie is of course in there too – taking pride of place in a spacious wing with various two-wheeled motorbikes, Octopussy‘s tuk-tuk, For Your Eyes Only’s canary yellow Citreon 2CV and The World Is Not Enough’s Parahawks.

Lean over!”

Ford Mustang Mach 1, Diamonds Are Forever (1971)

Yes, maybe the Lotus Esprit could have been more showcased (or showboated) in the layout scheme of things, but actually its not-obvious placement creates a great “oh my – is that the Lotus?” realisations for any kid of any age to suddenly make an eager beeline for. One of the feng-shui successes of Bond In Motion is how sizing up one car offers a nearby peek of another classic from yesteryear. It’s like being at a school reunion where every conversation is interrupted by someone better to veer towards. More than one sweep through and starting at the end and working backwards is much recommended. And yes – check out the gift shop, nicely sited in one of the underground flower storage catacombs of the museum and inadvertently echoing the “new digs” MI6 end up in 2012’s Skyfall. The ladies can traipse around town with their buff boy Hollister bags, but the Bond fan boys are going to be fighting for a Bond In Motion boutique bag stocked full of mugs, DVDs, prints, clothing and pencils (who isn’t a sucker for a museum pencil?). It also houses a neat case of vintage Bond car memorabilia. And just like how the rather snazzy and kid friendly Scalectrix set available in a canteen room for all to play demonstrates, Bond In Motion straddles a careful line of history, geekery and contemporary.

BOND IN MOTION - 18-03-14 - Jaguar XKR (DIE ANOTHER DAY) © Mark O'Connell 2014 (7)

BOND IN MOTION (Photo © Mark O’Connell / 2014)

And my favourite exhibit? Yes, the Astons are beyond lush and the mecha-flippered Lotus Esprit is always going to be the biggest Bond car toy made real. Diamonds Are Forever’s Mustang is – like Las Vegas itself – a bit weather-worn but still holding its sparkle and Blofeld’s Bath-O-Tub from the same film is possibly the campest exhibit in a subterranean world of machismo. But the one that kept catching this bullet catcher’s eye…? Diana Rigg’s Mercury Cougar XR7 from 1969’s On Her Majesty’s Secret Service. Complete with a vintage rack of White Wing skis, this car is simple in its own intent and that of the film it features. No bells. No whistles. Just Steve McQueen cool.

Like a 1970s double-taking Frenchman clasping a near-empty bottle of plonk as a Lotus Espirit motors from the surf, these cars make you pause. Strikingly laid out and physically choreographed by Jonathan Sands, Eon and their respective teams, the exhibition echoes Eon Production’s sister exhibition – Designing Bond – for its insistence on leaving space to let these metallic exhibits breathe. However, it might well overtake Designing Bond on a hairpin bend for the best current exhibition celebrating cinema’s favourite son and spy. Amidst the hardware, ammo and machismo of these cars and vehicles there is an unexpected grace to this collection. But as you shift down a gear for your final lap of the exhibits, there is a private and selfish joy in standing back and surveying the biggest Bond car toy box ever opened in one place. A highly roadworthy experience from lots of careful and not-so-careful owners, Bond In Motion passes its 007 fan MOT with flying (and driving and diving) colours.

“I love a drive in the country, don’t you?”

Citreon 2Cv, For Your Eyes Only (1981)

Bond In Motion opens on March 21st 2014.

www.londonfilmmuseum.com

BOND IN MOTION 2Tickets are £14.50 for adults, £9.50 for children and a family ticket is £38. The Museum is currently recommending booking ahead (especially in these early weeks) but also states how people are equally welcome just to turn up and try their chances.

With thanks to Jonathan Sands, Meg Simmonds, Barbara Broccoli & Eon Productions, Sam Fane & Sal Porter at Freuds and the team at London Film Museum. And to Remmert Van Braam, Ben Williams, Adam Bollard & Morten Steingrimsen.

For a whole car boot full of more photos of the exhibition and launch – check out Catching Bullets Facebook page.

PLAY IT AGAIN SAM – Mendes returning for ‘Bond 24’

Sam Mendes and Barbara BroccoliSam Mendes returning to the Bond fold is great news. Not because Skyfall was the most successful Bond movie, the most successful British movie ever, won two Oscars and a few high profile gongs. It is not even because it was the first Bond movie for a while to become a cultural event, a film whose momentum and qualities both shook and stirred the public’s consciousness and stoked the anticipation for what James does next in a way possibly not seen since the 1960s. No, Sam Mendes returning to direct Bond 24 is great news as the Bond series is in a new golden age of confidence and impetus. With 2012’s fiftieth anniversary bench-marker Skyfall pulling all sorts of clever doves out of Baron Samedi’s top hat, the pressure is naturally there for all involved to find a new hat to pull some tricks from.

Can lightning be trapped in an empty Bollinger bottle twice? Of course it can. 007 producers Eon Productions have a whole cellar full of lightning bottles. But I doubt Bond 24 will be Skyfall Too – Back to the Chapel. It will no doubt take its predecessor’s baton and sprint with it like a gym-fit Daniel Craig. Yet it will be a totally different kettle of SPECTRE piranhas. Heck, there may even be some SPECTRE piranhas in there. And a submersible Prius. With Union Jack airbags. Maybe not.

Yet it won’t retread. We are in era of Bond directors with firm creative signatures of their own. Mendes’ tends towards films exploring what circumstances and the wider facets of society does to people. Respectively American Beauty, Road To Perdition, Revolutionary Road and Skyfall are a turn of the century classic, an ode to gangsterdom, a bitter stab at suburban nirvana and a home-soil vendetta. They are Sam Mendes looking at what wider circumstances, societal structures and defence mechanisms do to the common man. Javier Bardem’s Raoul Silva (Skyfall) is no different to Kevin Spacey’s Lester Burnham (American Beauty). Both have been chewed up and spat out by life. And both allow Mendes to have fun with how they stick up two fingers to the world. Likewise Jake Gyllenhaal in Jarhead and Away We Go’s Maya Rudolph and John Krasinski are striving to not let the same happen to them. There are lot of roads to perdition in Sam Mendes work. There is no reason to question why a new facet of Bond will not be explored, another internal scar creating external damage laid bare. That is the world of Fleming. And that is the DNA of Bond onscreen.

But along Mendes’ story paths there is a playfulness and wit. Lester Burnham’s breakdown is a lush descent into suburban anarchy and Away We Go is a fun road movie peppered with non-centric eccentrics. Mendes is currently executive producing Penny Dreadful under the auspices of his own creative company Neal Street Productions (Call The Midwife and The Hollow Crown – which of course saw Skyfall’s Ben Wishaw recently scoop the Best Actor BAFTA). Written by Skyfall and Bond 24’s John Logan, Penny Dreadful is a London Victorian re-imagining of the origins of classic horror creations such as Dracula and Frankenstein. A co-production with Showtime, the series is due to bite TV screens in 2014. This sort of baroque villainy has already shown its own teeth (literally) in Skyfall and could well flick a different villainous cape in Bond 24. With John Logan in the writing seat alongside Mendes, the end result of their 2012 ‘act one’ was a carefully arched Bond film marked by rich exchanges pushing the story forward through dialogue, character wit and drives (Bond and Severine, Bond and Silva, Bond and M, Bond and Q, Bond and Kincade, Bond and Moneypenny). The creative impulse to let the characters steer the story was a welcome one and wholly succeeded. Expect more of the same come the Fall of 2015. Skyfall ended with the orphan James Bond presented with a new family. Ben Wishaw’s Q is suggesting he will be back, as might Naomie Harris as Moneypenny and Ralph Fiennes as the new M. But what about the bureaucratic Clair Dowar MP (Helen McCrory – whose real life husband and possible ‘next Bond’ candidate Damian Lewis is currently shooting Eon’s new co-production, The Silent Storm) and Rory Kinnear’s much-liked ally Tanner? And of course we may well see more familiar keynotes of Bond re-dressed for 2015.

Mendes clearly relished his time working with Eon Productions, Barbara Broccoli and Michael G Wilson. It is a team-led ‘family’ operation with working relationships and continuity much valued linchpins. Throughout the 1980s, director John Glen helmed all five successive Bond movies with great results, creating new fans in new generations and blasting the lazy detractors of that era’s output with aplomb (see this writer’s Catching Bullets – Memoirs of a Bond Fan). Sam Mendes will have already done the same. As part of a maybe three-act regeneration of Bond, Skyfall certainly has re-pointed the character for its guardians and its audiences new and old. The twenty-second Bond film relished the heritage of 007. My hunch is that Bond 24 will move forward from that. Or aside. The history of the films will not be sidelined. The much touted ‘formula’ of Bond is entwined with the heritage of the character, the films and those that produce them. Yet, Mendes will want to produce a brand new movie, a brand new take and a brand new project. He has never directed a sequel to any of his cinematic work (whose narratives admittedly do not leave much room for ‘what happened next?’). We all have our wish lists and suggestions (mine would be Barcelona, Washington, a bit of skiing and a Daft Punk theme tune). However, it is worth noting the curious skill of Skyfall was how it packed in wholly familiar turf for the Bond series – London, the Far East and Istanbul – yet dressed it most wisely. Mendes is not about reinventing the wheel, but how the spokes work. We are still in a time of relative studio poverty (Skyfall had to allegedly hem in its budget and the results worked). Bond 24 will no doubt have to rein itself in too – as best as a multi million pound movie can. But having financial and physical restrictions often aides creativity. The Bond series’ production history has always proved that.

For any director or writer to come into that Bond world is no doubt a daunting task. Next time round Mendes is no longer the new boy at school. He is head boy – a proven newcomer with a few trophies (if that matters alongside such global box office stamina) gleaming in the Eon cabinet. But the team at Bond HQ are not wholly looking to emulate Skyfall. They are looking to emulate the decisions, the discussions, the aptitude and perceptions Mendes brought to the table. Of course the dollars and the studios that gave and then counted them are wanting more of the same. That is simple business sense. But film-making – even on the scale of a Bond – thrives on creative relationships and continuity. It is about both project and product for Eon.

The Sony PR elves were forever telling us how Mendes noted his own Bond fandom launched when he saw 1973’s Live and Let Die. There are echoes of that film in Skyfall (the arched villainy, the deathly opening titles, the throwaway dead girls, the drama often playing out on familiar streets and pavements and even the shared double-decker London buses…maybe). The question now is – what Bond film did Sam like next? My money’s on a direct sequel to Octopussy. That barge had to pull in somewhere?!*

(*joking)

Mark O’Connell is the author of Catching Bullets – Memoirs of a Bond Fan (Prelude by Barbara Broccoli). www.splendidbooks.co.uk

“When you were young and your heart was an open book…”

LIVE AND LET DIE @40 (c) Mark O'Connell

Eon Productions Live and Let Die celebrates its fortieth anniversary this week (it opened in the States on June 27th 1973, and a week or so later in the UK). It has been a linchpin of the series and the man on the street’s affection for James Bond ever since. It is also director Sam Mendes stated favourite 007 entry, whose influence is very evident in 2012’s Skyfall.

For more thoughts on Live and Let Die and all the Bond movies, check out Catching Bullets – Memoirs of a Bond Fan.

JAMES BOND Will Return

“Choose your next witticism carefully Mr Bond, it could be your last” (Goldfinger, 1964)

All the Daniel Craig Bond movies have ended with a beginning. But none more so than the closing motifs, nostalgias and characterisation of Skyfall. The regeneration of Bond is apparently complete. Yet, with every next film, Eon and 007 are faced with starting again, of re-election or a second album Groundhog Day with less Sonny and Cher and more Shirley Bassey. Or Adele.

Skyfall is Bond’s heritage – the Aston Martin DB5, the now justified return of Moneypenny and Q and that double-tufted leather door of M’s which got fans more giddy than being reincarnated as a Berenice Marlohe shower curtain. It is also a curious hint at his future. Bond’s world is no longer a governmental granite behemoth of old, but a prescient post “2012” cyber-spy playground of Met Police officers in stab-vests and social-media distracted commuters, media-savvy Whitehall bureaucrats whose only defence agenda is media presentation, Bond women with histories of child sex trafficking, Bond villains with workplace revenge over ones of mass genocide, Bond not afraid to joke/hint he is has an alias on Grindr (maybe), his boss has an army history in Northern Ireland (a series no-go for years), Q is a sexy geek possibly “on the spectrum” and we have now seen Moneypenny’s legs.

We are now in an era where juggling the old and the new, the exploding lairs of Roger Moore’s reign and the internal devastations of Craig’s, require handling by contemporary film makers unafraid to make mainstream fare with a scholarly eye, and vice-versa. It is no easy task to forever move forward with a central character the audience must not take too seriously – but he and his storyworld always has. Eon know why Bond works. More crucially they know how it doesn’t.

Like Skyfall, Goldfinger and The Spy Who Loved Me were also their respective 007’s third entry. Everything Or Nothing (director Stevan Riley’s rich and recent documentary looking at the evolution of 007) suggests that it is the third film for a Bond actor where he really makes his franchise stamp. If so, is there a pattern for the fourth film too? Thunderball (1965), Moonraker (1977) and Die Another Day (2002) are arguably examples of the Bond brand and their leading men in an effective, but over-comfortable groove. James Bond’s biggest cinematic enemy has always been himself. How do you follow up those Bond movies that really chime with cinemagoers (where old ladies on the bus had seen it and builders were whistling Adele in their lunch break)? How do you create an event planned or otherwise that equals the peaks of 007’s 2012, 1977 and 1964? Put simply, you bite the bullet and start again.

It is now assured we will get a fourth Daniel Craig outing – or B24 / Bond 24. MGM and Sony Picture’s bean-counters have seen to that, and more crucially so will the team at Eon. Screenwriter John Logan (Peter and Alice, Noah) who lent such eloquent fizz to Skyfall’s dialogue and particularly the scenes with villain Raoul Silva (Javier Bardem) is staying on board. Director Sam Mendes who clearly enjoyed the process has now confirmed he is unable to commit – due in part to long-standing theatre projects Charlie and the Chocolate Factory and King Lear.

Yet Mendes can and might return. He has yet to helm a sequel to his own work and has evidently forged great working relationships with the Bond team. So who else?

As Bond fans and film websites the world over begin the speculation game all over again, Eon’s decision to bring in auteur-minded directors like Mendes and Marc Forster (Quantum of Solace) with a storytelling confidence and instinct clearly works. The biggest hurdle an incoming director has now is not the eyebrow-raising stigma of doing a Bond, but simply not being Mendes. So what about Joe Wright (Atonement, Anna Karenina), Gareth Evans (The Raid), Kenneth Branagh (Thor, Jack Ryan), Ben Affleck (Argo, The Town), Kevin MacDonald (Senna, The Last King of Scotland) or Nicolas Winding Refn (Bronson, Drive)? Danny Boyle (127 Hours, Trance) has of course already filmed his pre-title sequence last year involving Craig and Elizabeth Windsor parachuting onto London’s East End and ticks a lot of British and competent storyteller boxes (and he would possibly be the first Bond director the wider British public have even heard of).

But the casting of Bond 24’s director is ultimately down to the producers and who they want to work with. And the course and eventual thrust of Bond 24‘s grand plan dictates everything. Mendes is a force of both film and theatre who the likes of Eon and Barbara Broccoli wanted to work with for a while. Broccoli – whose multi Tony winning production Once opens this month at London’s Phoenix Theatre – is a keen but quiet force of theatre herself, with Chariots of Fire, A Steady Rain, Catwalk Confidential and of course Chitty Chitty Bang Bang as recent projects. Might a director emerge from the same dual camps as Mendes?

And lest not forget Matthew Vaughn (Layer Cake, X Men First Class) who sadly – like Bond himself – has commitment issues. Christopher Nolan is another golden boy rich for easy speculation pickings, but we will see. One thing is certainly influential. Bond 24 is semi-locked in. Availability is key. And whilst a Bond director will possibly always be homegrown, British minded or plucked from what the 1950s used to call “the Commonwealth” , I was not joking about Ben Affleck. Likewise, Kathryn Bigelow.

Unlike any Bond actor before him Daniel Craig emerges as less a movie star fulfilling a tempting contract and more of a movie actor with a creative ownership and pride over the character and the direction of the franchise like never before. It was Craig who approached Sam Mendes. It was Craig who championed Adele and was grinning beside her like a schoolboy when she bagged the Golden Globe. And it will be Craig who no doubt has a necessary say on what happens with Bond 24.

Despite its vintage DB5 and ancestral pads, there is a modernity to Skyfall. There is no reason to believe that will not evolve into and through Bond 24. Who knows – out gay screenwriter John Logan may give the new Q a boyfriend or see Bond toying with a male concierge for vital information. Bond is as straight as they come. But even if his Skyfall dialogue bomb (“why do you think it is my first time?”) says otherwise that doesn’t imply his tactics are. With Craig’s 007 passport already pretty full of Europe and Asian destinations, maybe some North American city or alpine fun could be in order – with a bit of Washington-based senate villainy thrown in for Watergate effect. Or Africa? And is the Craig era assured enough to go big – big global jeopardy, big sets, big explosions? Or conversely, how small can a successful 007 movie go? Skyfall was a particularly small Bond movie. As Mendes’ stint proved, a solid script, story-led pyrotechnics, utter conviction in the project, simple but effective character strokes and the proven skills of the Bond crews can easily steer Skyfall II (or Dr. No XXIV) back to repeat business, even less critical resistance and something Bond has more of right now than any other franchise’s history – the audience’s goodwill.

And whilst we are at it, let’s now throw a title-tune bone at Muse, Depeche Mode or Kylie Minogue. Better still, bring back Adele. She doesn’t have second album problems. (I wasn’t joking about Kylie either).

Just as the notion of Sam Mendes or even Forster helming a Bond movie would have been at best a curious prediction ten years ago, am I doing what every Bond fan does – assuming Bond’s past, his on-screen triumphs and not-done-that yets, will inform What James Did Next? Skyfall’s whole package was a curve-ball entry masquerading as formula. Aside from the natural fervour to see Daniel Craig again in what might well be his penultimate outing, Bond is now in a very interesting place. Those directing, writing and starring in the movies predominantly grew up with these films. Just look at the standing 00-Vation at this year’s Academy Awards where Shirley Bassey’s soaring rendition of Goldfinger had the likes of Tarantino, Witherspoon and Affleck on their feet beaming with guilty pleasure.

As Skyfall’s deliciously effective villain Silva proved, it is not what a Bond film can now do to make its mark, but how. The entire cat and mouse motif of Bond and Silva was predicated on a writer’s notion – a piece of deliciously rendered dialogue about who will be the “last rat standing”. That is potentially more about the Bond character and brand’s immediate future than scores of stuntmen in paragliding hovercrafts. Bond 24’s greatest ruse could be to take Bond even further out of his Goldfinger and The Spy Who Loved Me comfort zones. Of course the expected beats will be in place. Yet like one of those Tom Ford designed suits of Daniel Craig’s, Bond 24 could well follow the new Bond formula as blueprinted in Skyfall, the new comfort zone – sharper stitching and less embellishment, traditionally cut but using new material, just enough room for surprises and tight in all the right places.

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