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.
“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.