Ever since its March 2014 launch, the London Film Museum and EON Production’s Bond In Motion exhibition has coyly gone up a gear or four. As well as being one of the world’s best public collections of Bond vehicles, planes, bikes, boats and submersible crocodiles, the Covent Garden based collection is fast becoming THE exhibition space for EON Productions and their ever-evolving 007 archive.
Fast on the heels – or DB10 tyre tracks – of Daniel Craig’s fourth spin of the Bond wheel, Bond In Motion’s Jonathan Sands and EON’s chief archivist Meg Simmonds have already judiciously added The Cars of SPECTRE in November 2015 and have recently swollen the already rich collection with yet more exhibits, props, costumes and artwork from the likes of Octopussy, The Man With The Golden Gun and more.
Already now the base of choice for many a celebration, spy-skewed launch and birthday kid’s imagination; Bond In Motion has recently held its own two year anniversary weekend in apt style. Marked over two days and fully accessible to the visiting public, fans and those curious just to know more, screen critic Will Lawrence interviewed key Bond personnel about their experiences and world-leading crafts. On Saturday 19th March 2016 Visual Effects Supervisor Steve Begg (Spectre, Skyfall) and famed stunt coordinator Vic Armstrong (Tomorrow Never Dies) took part in a public Q&A. On Sunday 20th March 2016 Catching Bullets was invited to hear the thoughts and reminiscences of costume designer Jany Temime and Special Effects legend Chris Corbould in a typically Bond bespoke day of insight, honesty and craftsmanship.
“We’re just a service department… to help the actor become the character” – Jany Temime
The French-born costume designer of the Harry Potter series, Children of Men, In Bruges and Gravity, Temime has also of course designed the costumes for the last two Daniel Craig Bond bullets, Skyfall and Spectre. Flanked by costume designs and exquisite drawings for both films (including the marked skulduggery of the Mexican Day of the Dead festival for Spectre and the various sartorial approaches to the likes of Swann, Severine, Moneypenny, Mr & Mrs Sciarra, Silva and Blofeld), Temime is quick to enthuse about her striking contributions to the Bond series so far. The creative brief for Spectre was “black and white”, to “go darker” than Skyfall. Temime relished the chance to up the ante whilst bringing vintage movie and yesteryear fashion influences she clearly holds dear. She wanted “a Fifties look” to Bond’s alpine wear for the Solden scenes in Austria – evidenced particularly in those bold mid-century sunglasses and “the very sleek silhouette” and “army look” of Bond’s dark jacket and trousers. She also wanted to echo that Italian sense of fashion and dignity in Bond’s funeral coat and suit.
“You have to love film more than costume” – Jany Temime
Hoping to join the EON crew for the next and twenty-fifth Bond movie, Temime has nothing but praise for current leading man Daniel Craig. “He likes his clothes”, she remarks, “he’s proud of it”. It was Temime who suggested we see Bond in the white tuxedo in Spectre. And not because of any Goldfinger homage or reference, but the whole “1930s style” notion of Casablanca, Morocco and Humphrey Bogart’s Rick Blaine. Likewise Swann’s dining cart gown had to almost be “naked” as if she is wearing nothing as she makes her head-turning entrance for dinner and death. The dress in question was on display, enabling Temime to remind how a costume must not just look good or in character. It also has to work under the lights, to be able to withstand the scrutiny and eye of the world’s best cinematographers, to be practical in an action sequence, original and fully aware of the script. Temime notes how she gave more attention to the back of Swann’s evening gown as she knew the back of it would hold more screen time in the ensuing fight between Hinx and Bond.
Likewise she has very specific ideas for Ben Whishaw’s Q. Aside from the woollen hat he wears in Spectre being chosen for no other reason than Whishaw’s ears were going to go blue with the Austrian cold, Temime reminds how she has to fully read a character, their lifestyles, their tastes and spending habits. “Q – “, she suggests, “– is a man with money…he’s a geek into computers”. Of course he would have high end woollen wear, accessories and laptops. Two cats and a box of Twinnings Earl Grey don’t cost that much to feed, surely?!
Temime also likes to hear from the actors themselves. She was in awe of Spectre’s Monica Bellucci and utterly agreed at the actress’s suggestion of a veil for grieving widow Lucia Sciarra. Temime wanted her to have the outline of a bird – augmented no doubt by Bellucci’s killer heels and coquette-ish skills at traversing the “pipes and stones of Pinewood Studios” like a pro. She would of course disagree too. Director Sam Mendes always wanted Moneypenny’s Macau casino gown to be gold, but Temime was hesitant – “she will look like an Oscar”. “She is not going to be gold, she’s going to be lime” Temime recalls as she hints she may have cheated a bit and allowed the dress a lime tinge to downplay the gold.
But of course there was no downplaying on the streets and clothes rails of Mexico City for Spectre’s magnificent opening overture. The Day of the Dead backdrop was clearly a design treat for Temime and her team. Yet she notes how it was the Mexican dressers, designers and extras who educated her on where to go with the somewhat large task of individually dressing 1500 extras as well as three leads and a raft of support characters. Temime was most complimentary of the Mexican art school students who collaborated on the memorable sequence. “They explained and you understand the difference between party and death” she notes, “and Bond had to be one of them”.
Likewise Temime had a careful brief with Dame Judi Dench’s costumes for Skyfall. Realising the character would be dressed early on in what was ultimately going to be her final costume in the narrative (and indeed series), Temime fought against the spoilerific colours of black and death and pushed instead for – like Bond’s tuxedos – a dark blue that holds only the merest taste of black on film. It is that attention to reasoning – let alone detail – that marks Temime out as a key mind in the Bond production family. She is tasked not just with dressing the good and the bad of 007’s world. She has to get into the mind of the characters. She has to decide just what Blofeld would be thinking when selects a dress for a visiting Madeleine Swann (Temime’s thinking is that his mind was all over the place so he would pick something that was loud and busy). Naturally Temime enthuses over a rail of Craig’s blue Tom Ford tuxedos (size 38R no less) and Sciarra’s bloody and torn white suit as well as Swann’s Jimmy Choo footwear and that train gown.
I asked Temime if perhaps one of the greatest pressures for her is less the obvious need to make everything look forever amazing, but does she – the figurehead of the costume department – have to remain on fine sartorial fettle throughout? Is there an inadvertent pressure to look good each day? She jokingly assured me she never worries as she always looks good each day (and this session at Bond In Motion was no exception). Besides, who looks great at half four in the morning in a muddy British field?
I wondered too if there was anything she would still like to bring to Bond and a possible third film?
“Do you know when I started Spectre I was so afraid. I thought ‘Oh my god, I gave everything I had. How can I do better?’ And then – thank God – they gave me incredible people to work with. They gave me a great script. They gave me a great DOP. They gave me a fantastic actor. So it is not only me. I’m a part of it. And I hope if I have the chance of doing the next one they will give me a fantastic actor again, an amazing script and a fantastic DOP. And then those people will help me to create something that is maybe not better, but different.”
“And I hope if I have the chance of doing the next one they will give me a fantastic actor again, an amazing script and a fantastic DOP.”
Clearly endearing myself to Temime for utterly seeing the deliberate influences of Bernardo Bertolucci’s The Sheltering Sky (1990) on Spectre’s Moroccan shoot (those desert train station images of Bond and Swann are very Bertolucci – as are parts of cinematographer’s Hoyte Van Hoytema funeral coverage in Rome) I later wondered if there is an era of history she has not yet tackled? Maybe not so much Bond, but any time in history she was desperate to tackle?
“No. I have been working for a long time”, she laughs. “I think I have been covering every single period of film. It’s no much the period, it’s how you want to access it. Because a period in itself is not that important. If it was then I think I would just work for a fashion house. It’s more how the director and why the director chooses that period. What does he want to tell about that period and how somebody from 2016 will look at the period to get something of it? So the period in itself isn’t that important. It’s what it expresses nowadays”.
“You make your own era as long as you have a good script” – Jany Temime
It is this insight to the Bond creatives, their choices and talents which Bond In Motion continues to herald. Far from a Bond petrol-head’s dream destination, the exhibition has matured into a fascinating and accessible platform for movie audiences to question and meet the minds behind their favourite movies and moments. It is worth keeping an eye out for possible future events and celebrations of our man James. It is certainly worth taking Bond In Motion for a new spin too.
To book tickets and find out more about Bond In Motion click here.
For a full photo gallery of Jany Temime and Chris Corbould’s sessions at Bond In Motion’s second anniversary weekend click on Catching Bullets Facebook page.
With thanks to Jany Temime, Chris Corbould, Meg Simmonds, Will Lawrence, EON Productions, Jonathan Sands, Rebecca Britton and the team at Bond In Motion and the London Film Museum.
Since Bond In Motion‘s launch in March 2014 (full review and galleries), EON Productions and the London Film Museum’s collection of Bond vehicle gems has been attracting fans, tourists, kids and petrol heads alike from across the globe. Masterminded by the London Film Museum’s Jonathan Sands with EON Productions and its Archive Director Meg Simmonds on keen godparent duties, Bond In Motion celebrates those magnificent 007 men and women of Bond and especially their flying, driving and diving machines. Catching Bullets’ Mark O’Connell was invited to take the new display for a spin. And yes, he got to sit in an Aston. And yes, there were buttons to press.
Hot on the heels (or tyre tracks) of 007’s newest bullet, SPECTRE, the London Film Museum has now just launched its first special exhibition celebrating a new 007 movie – The Cars of SPECTRE. Since its 2014 launch where producers Barbara Broccoli and Michael G Wilson first announced Bond’s newest Aston Martin, this new exhibition helps makes the welcome statement that Bond In Motion will be continuing indefinitely – much to the pride of Jonathan Sands and his museum team who have thoroughly enjoyed the ride, feedback and public enthusiasm so far.
“We are so excited to be presenting our first exhibition dedicated to SPECTRE. We regularly update Bond In Motion with never-before-seen gems from previous adventures but this is the first time we’ve been able to display vehicles from a film that is currently in cinemas around the world”
Jonathan Sands, London Film Museum founder & CEO
Sited in a brand new space amidst 007’s greatest vehicles (which in turn have had a great bout of feng-shui which has refreshed the whole exhibition in the best way – and sees the entire exhibition really using that underground space), The Cars of SPECTRE has now opened its bespoke car doors for the public with apt timing for cinemagoers.
As other SPECTRE exhibits are added to EON’s other two exhibitions (Washington DC’s Exquisitely Evil and the touring Designing Bond), The Cars of SPECTRE‘s main four-wheeled stars are the gleaming triumvirate of Hinx’s Jaguar C-X75, Oberhauser’s 1951 Rolls Royce Silver Wraith and of course the uber exclusive, Aston Martin DB10. Only around ten DB10s were reportedly commissioned but Bond In Motion in fact has two already. Well, one and a very cool half. The DB10 ejector seat stunt rig and a Land Rover Defender (straight from a mountain in Austria) are on display too and testament to the wizardry of Bond, the mathematics of such stunt sequences and the sheer effort that goes into making 007 look effortless. Though there is no Frank Sinatra CD left over in the DB10 by 009.
Added to that is a rich array of SPECTRE storyboards, clapperboards, props and costumes. Easily the coolest cabinet aptly flanking the DB10 is Daniel Craig’s Tom Ford Windsor three piece suit from the Rome funeral scenes and subsequent car chase (complete with collar pin, Tom Ford tie and Crockett & Jones Camberley boots). Yet equally striking is Hinx’s black on black suit on sentry duty by the fire damaged Jaguar and costume designer Jany Temime’s Moroccan trouser suit for Dr Madeleine Swann. Q gets his own display with his ID card, spectacles (SPECTRE-cals….sorry), Q Lab production models, the Omega Seamaster 300 watch and already iconic SPECTRE ring complete the line-up.
The Cars of SPECTRE opens on the 18th November 2015 as part of Bond In Motion. There is no extra charge for the new exhibition (beyond the normal admission price) and the gift shop is certainly stocked with SPECTRE goodies….but no cat food. And be sure to check out the cutest SPECTRE exhibit already making itself at home at Covent Garden – namely Blofeld’s Bath-o-Sub from Diamonds Are Forever.
For a full gallery of photos go to Catching Bullets Facebook page.
Bond In Motion, 45 Wellington Street, Covent Garden, London.
Full price – £14.50
Child Ticket – [5-15years] £9.50
Concession Ticket – £9.50 [Students, 65 + and freedom pass holders]
Family Ticket – £38
Under 5 – Free
With thanks to EON Productions, Meg Simmonds, Jonathan Sands, White Ltd and the team at Bond In Motion.