With a growing archive of at least 15,000 illustrations, famed Bond creative hub EON Productions has collated a celebratory [and of course timely] coffee table look at 53 years of 007 design. Written by EON’s Archive Director Meg Simmonds, Bond By Design – The Art of The James Bond Films is a lavish 320 page tome – as much about the unnoticed artisans of cinema as it is James Bond 007’s glorious design legacy.
Straddling the various artistic strands feeding into the onscreen Bond – costumes, sets, graphic design, props, cars and stunts – Bond By Design explores the 007 design palette chronologically from Dr. No through to SPECTRE. As Archive Director at EON Productions, Meg Simmonds not only contributes to countless 007 books, articles, DVDs, auctions and documentaries, she has also helped curate, launch and maintain a triumvirate of Bond exhibitions. Designing Bond (which has just finished a summer run in Madrid), Bond In Motion (now parked up for a successful run in London’s Covent Garden) and the lesser known Exquisitely Evil (at the International Spy Museum in Washington DC) are all must-see branches of this ongoing project to mark and celebrate Bond’s production, sociological and cultural history.
As the lushly reproduced storyboards, charcoal sketches and hand-drawn illustrations evolve into rich marker pen interiors and beautiful water-coloured vistas before making way for the new era’s digital schematics and pre-vis imagery, Bond By Design is as much a document of late 20th century movie entertainment design as it is 007 – an opulent tribute to the lost heroes of movie design. The painted ponderings of costume designer Julie Harris (Live and Let Die) are as rich and relevant as any Cecil Beaton drawing for My Fair Lady. Anthony Mendleson’s costume paintings for 1965’s Thunderball equal any Edith Head etching for those balletic frames and never-ending legs. Donfeld’s watercolour illustrations for Diamonds Are Forever’s Tiffany Case are as luxuriant and era-pinning as any Vogue Paris cover or Robert McGinnis Matt Helm poster from the same time. And check out Barbarella’s Jacques Fonteray and his Moonraker suits and “Breeder” gowns! It is telling too how the ‘house style’ for Quantum of Solace, Royale and Skyfall ‘s digitally produced designs still hark back to that pulp fiction style of paperback cover art.
Of course the creative endowments to Bond and cinema from the likes of designers Ken Adam, Peter Murton, Syd Cain and Peter Lamont go unchallenged. Yet Meg Simmonds and the EON archive go further with Bond By Design. The end result is a rich reserve of those sleek sketches, languid watercolours and the vital scope of ambition EON and Danjaq afford these designers. But, Bond By Design also underlines the furnishing, decorative and architectural savvy these designers had [and continue to have]. The detail and notes Peter Lamont assigns a fairly incidental set and his clear awareness of materials, light, manoeuvrability and tone is as striking as any triangular ceiling of Ken Adam’s. And this is before the internet, online libraries and catalogued furniture archives. It is not enough for these designers to know their production and construction restraints. As this book testifies, they have to be ahead of fashion, erudite with what they know about the history [and future] of interior design and what will let all the global audiences into the story. And that is before you factor in the final challenge that twenty-four Bond films and their design teams increasingly come up against – originality.
“My job is to give them sets to work in that will surprise and amaze an audience”
Of course these designers are all sketching for the good of Bond and cinema. But Bond By Design lays bare their own characters. Ken Adam’s thick, dark and angular images for The Spy Who Loved Me and Goldfinger perfectly highlight just how he was indeed “the man who drew the Cold War” (The Daily Telegraph, 2008). Bond By Design sees those filmic and real life influences of his – The Cabinet of Dr Caligari, Alexander Korda, that Germanistic penchant for precision and cavernous industry and a post-war, Space-Age renaissance of new materials and substances. Likewise, Peter Lamont’s career as a set draughtsman cannot be missed when you witness the mathematical precision he puts into each set, walkway or even doorframe.
“Never a dull moment working on a James Bond film, I can tell you!”
The devil is naturally in the detail with this collection. It is as much about what we never see as what we do. So costume sketches contain reminders that stunt teams have to wear wet-suits under Lindy Hemming’s red dresses for Casino Royale’s Vesper Lynd and notes hint at how Blofeld’s coat of arms from OHMSS must be technically wrong.
The what nearly happened clues are nearly as rich as what did make its way up onto the screen. Close scrutiny of the artists notes and thoughts betray that Solitaire might well have worn an afro wig in Harlem in Live and Let Die (with a possible early thought that Diana Ross was in the running for that film?), the scarlet hues and hanging bling of The Man With The Golden Gun’s Bottoms Up Club are now a VIP room norm, that Willard Whyte in Diamonds Are Forever may have had an unused office complex to end all office complexes, that Whyte was first called ‘Graves’, Tomorrow Never Dies’ antagonist was once called Harmsway and that OHMSS’s Syd Cain designed an abandoned dog fight for GoldenEye. Very little is creatively wasted in the Bond franchise.
“What the Bond films did, they stimulated my imagination. I felt the sky was the limit. I could do anything.”
It is the staggering specifics that go into these drawings – and ultimately on-screen – that makes Bond By Design such a valuable document for all film lovers, let alone Bond fans. The thought and notes jotted down for a simple flower-covered pillar in a party scene in A View to a Kill or the in-depth measurements Lamont makes for the flower elevations in OHMSS lay bare the commitment to quality first pioneered and bankrolled by the likes of Cubby Broccoli and Harry Saltzman and now well and truly continued with Barbara Broccoli and the man with the most producer credits on Bond, Michael G Wilson. This is the tireless effort going on behind, in-front and beside the scenes as hardened fans panic about gun-barrel logos infinitum on 007 forums. So much is actually designed for a Bond film beyond physical sets and theatrically-minded interiors. Gold bars, the front of Baron Samedi’s train, Bond’s MI6 logo, casino chips, Martini glasses, what ornaments a villain owns, is it to be a headscarf or a necklace a panicking tourist wears are all elements that viewers will never see and yet have to be factored in, designed, made and duplicated. This writer has always been a tad partial to a good villain’s logo. And those faux-corporate emblems are lovingly presented too including Zorin Industries’ try-out logos.
“I go with my instincts on every aspect of how I design films. It’s all emotional response to things”
Dennis Gassner, production designer on SPECTRE
SPECTRE is understandably not explored in too much depth this time round as a great many of its design and visual tricks are tied to its plot and story surprises. However, designer Dennis Gassner’s discussion of director Sam Mendes’s urge to explore “hot and cold” in the film makes utter sense for a Bond movie as does the use in Mexico City of those prime 007 colours – “red, black and white”.
As if it needs endorsing any more, this new champion of Bond production books also comes with a pair of glossy Ken Adam designs and a foreword contribution from Adam, Lamont and Gassner. The pen is indeed mightier than the sword.
Bond By Design – The Art of the James Bond Films
by Meg Simmonds
Published 1st October 2015
With thanks to Dorling Kindersley and EON Productions.
“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)
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”
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).
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.
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.
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.
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).
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)
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)
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.
“Ever heard of Evel Knievel?”
AMC Hornet, The Man With The Golden Gun (1974)
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.
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.
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.
Tickets 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.