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Ted Kotcheff (rumoured), John McTiernan (in talks), John Byrum (rumoured), Michael Carton Jones (rumoured)Alfonse M. After terrorists target a Scottish nuclear facility, 007 is deployed to the Far East to investigate the prolific businessman Sir Henry Lee Ching.
Crucially, the man with the Licence To Kill is no longer the half-formed agent we saw in the reboot-minded Casino Royale and Quantum of Solace.
Skyfall finds Bond chasing a global trail of intrigue from Istanbul's spice bazaars to the rugged peaks of Glencoe, from Shanghai to London. The film poster has been a key weapon in 007's marketing arsenal, bursting with all the impossible thrills and heart-stopping glamour of the Bond movies themselves.
Nick Setchfield talks to Danny Kleinman, the man charged with the job of creating the most iconic title sequences in cinemaGoldeneye (1995) saw Danny Kleinman inherit the late Maurice Binder's role as chief visionary and silhouette-wrangler for the James Bond title sequence. Exclusively for SFX, The Spy Who Loved Me and Moonraker screenwriter Christopher Wood shares the 12 secrets of his blockbuster craft1: If it ain't broke don't fix it. Spaceflights were being hijacked and the consumately evil Ernst Blofeld thought he had Killed 007.
The planet is at the mercy of a gem-powered killer satellite controlled oy 007’s arch-enemy. In 1953, author Ian Fleming created super agent James Bond, the dashing but deadly British operative.
JAMES BOND Roger Moore is the handsome hero of the legendary television series THE SAINT, as well as twenty-two motion pictures — four of them James Bond films.
DRAX The sinister, world conquering Hugo Drax is played by the gifted character actor Michael Lonsdale — whose most violent hobby is painting landscapes! CHANG Drax's henchman, who engages James Bond in one of the longest screen brawls in years, and meets his end in as spectacular a fashion as any in motion picture history. Whether sleuthing, loving, fighting, or living the good life, nobody does it better than Bond. Can even the amazing 007 hope to handle the most exceptionally evil threat, the most paralyzingly powerful foes, of his long and illustrious career?
Join James Bond solving the mystery, battling the villains, and blasting off in the adventure of Moonraker!
The shining sun rises on a new day of scientific achievement and international cooperation. A glorious example of this new detente streaks across the sky, over the glistening waters of the Atlantic Ocean.
In the plane’s cabin sit two contented yet conscientious pilots, both of them wearing NASA uniforms. Photo: The mighty, magnificent Space Shuttle prepares to blast 007 to new heights in Moonraker. With a lightning-quick move, he knocks the pistol from the girl’s hand, and smashes into the pilot.
Now it is the mammoth Jaws, that gigantic, steel-toothed bad guy seen swimming into the sunset at the end of The Spy Who Loved Me, who watches Bond drop like a stone toward the earth below.
The dark ground spins dangerously close as 007 spots the parachuted pilot still freefalling nearby.
But what would be certain death for any other man is just the barest hazard for the titan called Jaws.
M , Q , and Britain’s Minister of Defense, Frederick Gray, place the safety of the missing Shuttle in Bond's able hands. 007 begins his search in Southern California, and the headquarters of Drax Industries—the manufacturer of Moonraker Space Shuttles for the American government.
A near-army of scientists, lab personnel, researchers, and astronauts, all recruited by Drax! But before the danger begins, the bearded, somber, chillingly civilized Drax sends 007 on a tour of his facilities.
One such piece of machinery is the centrifuge, the merry-go-round device which simulates the gravitational force of a space shot.
Holly is called away by a phone call from Drax, but Chang’s evil figure lingers by the controls.
Bond gets his next lead from papers he finds therein, not realizing that their actions have guaranteed the death of the fetching Corinne! The clue in the safe takes Bond to the Venini Glass Works, a combination glass factory, showroom, market, and museum.
At the press of a button, the gondola reveals itself to be a supervessel, complete with a set of electronic controls and a powerful outboard motor. Taking a moment to repay the death of his gondolier, Bond steers his speeding craft into the watery byways. First, he discovers a fully equipped lab behind the establishment, where an especially deadly form of poison gas is being produced. The killer falls into the dining area below, landing headfirst in the body of a grand piano. Striking a truce, the two form a romantic partnership that lasts as long as it takes for Bond to slip into the night. Before his departure, 007 takes just enough time to leave the vial of nerve gas with his superiors. That night, wildly costumed revelers take to the streets of Rio for their annual carnival, while Bond and Manuela take to the shadows and alleys to investigate a Drax warehouse along the route of the carnival.
Leaping from the warehouse, Bond lands on Jaws, and the two resume their continuing battle.
Photo: Bond and Holly make mincemeat of a pair of Moonraker Space Shuttle pilotsPhoto: Arrival! Bond is practically hurled from the car by the resultant shock, but with Holly’s help manages to remain onboard.
As soon as the two compartments are at a level keel, Jaws hurls his hulk across the abyss and continues his battle with Bond. Photo: The ever-able Holly Goodhead winds up for a paralyzing punch to the jaw of a Drax technician. When Bond regains consciousness, he finds himself and Holly tied to wheeled stretchers in the back of a Drax ambulance. The only thing normal about the monastery is the calming presence of M, Q, and their faithful aide Miss Moneypenny. In a twinkling, 007 finds himself piloting the Q-Craft, a sleek motor launch capable of terrific speed—as well as spectacular destruction. Bond is more than a match for his pursuers, adding years of battle-honed skills to Q’s armaments. But the final enemy boat is piloted by Jaws, and it’s armed to the stern with missile-firing cannons.
But this particular river happens to end in the spectacular Iguacu Falls, an incredible drop of roaring, roiling water. And, more immediately, Bond must make a flawless landing amid the teeming tangle of the jungle. Feeling that the answer to this globe-girdling mystery is about to become clear, 007 gives chase. Inside the centuries-old structure, he discovers a dazzling combination of the antique and the avant-garde. 007 moves in for a closer look, and quickly realizes that the chamber is filled with girls, all of whom he has seen before. Even as he struggles to the water’s surface, a gigantic, twining, deadly snake slides silently into the water.
Faster than Bond can reach the side of the pool, the exotic monster weaves its way across the agent’s body. The snake shudders, and soon the water itself is rippling from the snake’s death throes.
Back in the pyramid, a technician announces the imminent departure of yet two more transports. Drax, his manner still chilly, lacking even an iota of pity, pauses before entering the Shuttle’s control cabin. With only three minutes to lift-off, Bond must do the impossible: find an escape from a sealed, exitless shaft. No sooner thought than done, the pair hijacks the motorized buggy which is carrying the astrofliers to the Shuttle.
Thankfully for all concerned, Holly has had NASA training and is an astronaut worthy of anyone’s mettle.
The TV monitors of Moonraker 6 provide the operatives with a view of their blast-off, as well as information on the progress of the other five Shuttles. In quick succession, the six Moonrakers dock at six different stations on the sides of the floating structure.
Joining the throng of newly arrived astronauts, scientists, and technicians, Bond and Holly journey to the Central Command Satellite.
In space, he plans to create a super race, a race raised with obedience to Drax foremost in their minds. Filled with grim resolve, Bond and Holly slip away and discover the Electronic Camouflage Unit. Photo: The Moonraker Space Shuttles are attracted like flies to the metal Space Station spider in the sky. James Bond is a normal man with all the normal instincts, but he lives in a world which brings danger to him and to those he loves," explains actor Timothy Dalton, who makes his debut as Agent 007 in The Living Daylights, the British superspy's 15th film adventure.
The actor's journey to the role of James Bond took a long and winding path, according to Dalton.
Dalton's enthusiasm in taking over the 007 persona has extended to his performing as many of his own stunts and fight sequences as possible. Ultimately, Dalton is insistent upon drawing distinctions between himself and the super secret agent. Maryam d'Abo plays Kara, an assassin who doubles as a concert cellist, bringing her to the forefront of international attention as James Bond's latest leading lady. Once she became interested in acting, d'Abo returned to London to begin studying, later embarking on a career in films and television. In preparing for her role, d'Abo took cello lessons every day beginning a month prior to principal photography.
And 007 falls in love with this princess, the beautiful Kara, a musician who also plays to kill. New to the role is Caroline Bliss, who succeeds Lois Maxwell as Moneypenny in this latest movie mission, The Living Daylights. For every woman James Bond falls in love with, he must first deal with the villain at hand.
Filling the role is Joe Don Baker, a man known not only for his roles as a heavy but also for being a good guy.
With a score of credits to his name, Baker is perhaps best known as Buford Pusser, the hero of Walking Tall. One of Holland's most popular actors, Krabbe was born in Amsterdam into a family of successful painters. For Dutch filmmaker Paul Verhoeven, Krabbe has starred in Soldier of Orange, Spetters and The Fourth Man, for which he won several acting honors. At six foot two, Andreas Wisniewski, who portrays the nefarious Necros, looks healthy enough to do it. Now, it seems Andreas Wisniewski's job is to silence KGB General Pushkin—with the promise of a bonus if Necros has a bullet with James Bond's name on it.
One of the world's leading character actors, Gotell has also been seen in The Boys From Brazil, Cuba, Black Sunday and The Road to Hong Kong. Robert Brown, a distinguished British character actor, has assumed the role created by the late Bernard Lee (who played the character from the series' beginnings in Dr.
Davies is best known for his portrayal of the jovial Sallah, one of the Raiders of the Lost Ark. He's a minor character, but in the British government of the James Bond universe, he is a major player. This is a business of illusions," announces Desmond Llewelyn, the man who portrays Q, the gadget master of the British Secret Service. James Bond has had his cinematic Licence To Kill renewed for a 15th time, but this summer, it's a new 007 facing The Living Daylights. Visiting the settings of popular films and TV series has become a growing niche in the tourist market; however, little is known about what makes these visits so appealing. In the Indian Ocean off the coast of southern Thailand lies an island that was originally known as KoTapu.
The history of James Bond Island is not unique; there are other locations that are known entirely or partly thanks to their appearance in a James Bond film or novel.
A journeyman producer is having a Thunderball of a time as he re-assigns the "original" James Bond to active duty On Her Majesty's Secret Service for a controversial new mission. As super agent James Bond, Sean Connery has defeated many of the world's most dangerous villains. McClory proceeded to develop a screenplay entitled Warhead, which he wrote in collaboration with Sean Connery and British espionage novelist Len (The Ipcress File) Deighton, as a vehicle for Connery's return to the role that made him world famous. That Schwartzman succeedèd where McClory failed is a testament to his 20 years of experience as an entertainment lawyer specializing in motion picture finance and distribution.
Before beginning the development process, Schwartzman also approached one of Albert Broccoli's representatives. Due to these legal entanglements, Schwartzman feels he's uniquely qualified to supervise such a complicated project.
And when the government unexpectedly provided an omen, he knew his fate as a producer was sealed. For legal reasons, Schwartzman was obligated to remain reasonably faithful to his source material. In Schwartzman's opinion, such a storyline isn't as farfetched now as it was at the time of Thunderball. Nevertheless, many fantasy film fans resent the "camp" treatment Semple has brought to his genre assignments. After fashioning a script treatment which met with Connery's approval, Schwartzman set about securing financing.
Despite the litigation he faces, Schwartzman's investors and distributors haven't abandoned him. Sean Connery's contract also guaranteed him approval of the director and principal cast members.
In assembling his cast, the producer sought actors who would be appropriate for their roles, rather than simple box office attractions. Max von Sydow, seen recently in Flash Gordon and Conan, is cast as Bond's frequent nemesis, Ernst Stavro Blofeld, the head of Spectre. As M, Bond's superior, Schwartzman chose Edward (The Day of the Jackal) Fox, an actor younger than Connery—thereby eliminating the character's father-figure aspect. An even more significant alteration has been made in the depiction of Felix Leiter, Bond's longtime CIA ally, here played by Bemie (The Man Who Fell to Earth) Casey. Also making brief appearances are British actress Pamela Salem as Bond's eternal lady-in-waiting Miss Moneypenny, and noted character actor Alec McCowen as the armorer Q. Another attraction will be the elaborate action sequences audiences have come to expect from Bond extravaganzas. Although his deal with Kevin McClory gives him the right to make another Bond movie, "I doubt I'll exercise that option," he concedes. Jack Schwartzman's immediate future, however, is fully occupied with finishing Never Say Never Again for a summer 1983 release, to possibly follow Octopussy into theaters in July. In Hong Kong, James Bond rendezvous with retiring spy Denholm Crisp, crosses paths with the Chinese Secret Service and teams up with jewel-smuggler Connie Webb to get to the bottom of Ching's shady past and prevent global pandemonium that could spark World War Three. In a recent poll a massive 93% of our readers said they wished SFX would cover the famous spy. But the most genuinely intriguing element of the movie mav be its helmer,Sam Mendes, former RSC director and an arthouse-friendly talent acclaimed for such emotionally resonant fare as American Beauty and Revolutionary Road.
As the lifelong 007 fan recalls, it was his Binder-homaging promo video for Gladys Knight's Licence To Kill song that brought him to the attention of the Bond machine. Born on the island of Aruba, the twenty-eight year old actress grew up in England and in Holland.
A massive 747 jetliner is winging its way from the United States to Great Britain, a NASA Space Shuttle firmly attached to its back.
Behind them is a British Navigation officer in his RAF duds—another example of the strong bond between allies. James Bond comes up against a villain as ruthless as he is rich - pitiless as he is powerful. But this craft is a small, luxurious private jet: it houses not skyjackers, but the debonair 007 himself. A cruel-looking pilot appears, holding yet another gun on 007, and wearing a parachute on his uniformed back.
The pilot desperately pushes Bond toward the exit, but agent 007 turns the tables and it is the pilot who takes the fall. But his look of satisfaction vanishes as it becomes apparent that the danger is not yet over.
With dizzying agility, Bond hurls himself on the hapless man and wrests the parachute from his back. Finally, Bond wrests himself free of the giant’s grip and sends the speeding adversary toward the ungiving earth below. He floats down under his open parachute, unaware that he is about to embark on a mission of gravity in a place with no gravity!
He is shepherded by one of Drax's top aides: a green-eyed, darkhaired beauty of a doctor named Holly Goodhead.
First, there’s the Drax residence, a glorious chateau sent from France stone-by-stone.
As soon as nignt falls on the Drax estate, he discovers the charms of the pilot Corinne, who resides in the chateau. Drax gathers Chang, some of his shapely astronauts-in-training, and a team of Doberman pinschers for a little hunting trip. They chase the poor girl into the forest of the estate, and hound her to her death, Corinne dying beneath their wicked teeth and savage claws.
With the pull of a lever, the gondola becomes a hovercraft, leaping onto land while the pursuing boat sputters helplessly offshore.
Then, in the process of stealing a sample of the toxin, Bond sees a tiny vial of the stuff kill two scientists. Amid the dancing, laughing, drinking, shouting, wildly-costumed celebrants, Bond casually breaks into the supplyhouse. He stalks Manuela in the empty alleyway; she pulls a knife on him, but with one huge paw he sweeps it from her grasp. Suddenly, the alley is filled with happy humanity, a sheer mass of people celebrating the carnival. Fully and wickedly conscious, he signals a compatriot-in-crime to send the funicular after the fleeing operatives. Jaws has been sidelined, Bond has gotten himself and his companion down in one piece, Holly is openly grateful, and an ambulance is nearing to check for injuries.
One of the newcomers brandishes a blackjack destined for 007’s skull, while two others jump Holly with more than medical attention in mind. And both attributes are sorely needed when three high powered Drax boats blast after the operative. The inexorable grip of the falls pulls the Drax craft over the lip and dashes it to the rocks far, far below.
There is still the matter of a missing Moonraker Space Shuttle,not to mention the secret scheme of the maniacal magnate to whom death means naught! He manages this, lighting with the precision of an experienced flier, but no sooner does he plant his feet on terra firma than a striking blonde beauty appears.
The female’s flight leads him across rock faces, through dense foliage, around trees, and finally into the breathtaking remains of an ancient Mayan city. Just when 007 is certain that he had gotten through the worst of it, two great hands pluck him from the pool as though he were a rag doll. To this end, the billionaire has his metalmouthed lackey hurl 007 into a large, circular, high-ceilinged room.
It has a square grille, but a grille so tightly attached that no human could possibly budge it—with the possible exception of Jaws who, alack, is on the wrong side of justice. With just two minutes before Moonraker 5 blasts off, Bond uses one of Q’s gadgets to blow the grille from the wall and swiftly pushes Holly along the tiny, makeshift escape tunnel.
Holly spies its cargo: six sets of astronauts, pairs of men and women, each one as physically perfect as the next. Besides, she reassures a slightly shaken but hardly stirred Bond, the ship is on automatic. For years, NASA had planned and plotted, designed and devised—but Drax was the one who put the first space colony in orbit.
That will enable earth-based scientists to discover the space station and launch an immediate investigation. With confidence and pleasure, Holly wreaks similar havoc on the radar jamming system, and it is put out of commission for good!
While hardly rare, we have never seen more than just the front page reproduced anywhere on the web. An accomplished stage performer, he starred in many Shakespearean productions and eventually made his film debut in 1968's The Lion in Winter opposite Peter O'Toole and Katharine Hepburn. He, too, feels great affection for her, but they never venture into the heartbreaking area of an affair—beyond some witty repartee and a toss of his hat to her corner hat rack. He has also appeared in Cool Hand Luke, Fletch, The Natural and Charlie Varrick and starred on TV as Eischied. That is one of the powers of a real villain," notes Jeroen Krabbe, who plays the scheming KGB General Koskov whose 007-engineered defection kicks off The Living Daylights.
Destined to become a third-generation artist himself, Krabbe altered his fate by switching his studies to dramatics. Making his way to the United States, he has appeared in the TV mini-series World War Three, and the films Jumpin' Jack Flash and No Mercy—in which he portrayed, ironically, the ruthless killer.

Goldfinger had Oddjob, The Man With The Golden Gun acquired Nik-Nak and that would-be Moonraker, Hugo Drax, employed Jaws to see that some harm came to Mr. His first appearance came 24 years ago as Morzeny, the training camp commander who taught the ways of assassination to Red Grant (Robert Shaw) in From Russia With Love.
He reprised his role as the KGB head in Moonraker, For Your Eyes Only, Octopussy, A View To A Kill and now in The Living Daylights, as General Gogol gets a promotion to the Foreign Service. When a Soviet defector's finger points at KGB General Leonid Pushkin as the mastermind behind this evil scheme, Bond is instructed to exercise his Licence To Kill the KGB Chief—but he is unable to pull the trigger on his Walther PPK. The Welsh actor began his training at the University of East Anglia before going on to the Royal Academy of Dramatic Art. Leading a band of Afghan freedom fighters, he strives for a noble cause—until he is captured and thrown in jail.
For generations, the people of the surrounding islands supported themselves by fishing, growing rice and tapping rubber. Over a period of more than four decades, 24James Bond films have appeared, resulting in an extensive, international network of 007 locations.
Soon, he will face his most formidable foe — James Bond, in the person of his friend, fellow actor Roger Moore. In fact, Broccoli and his associates have vigorously waged a longtime legal war to prevent any alternate 007 epic from reaching the screen.
After Thunderball was published, McClory sued Fleming, on the basis that portions of the book were derivative of material they had jointly developed.
Unfortunately, due to legal action brought against him by Broccoli and company, McClory was once again unable to raise the financing necessary for production. It was as executive vice-president of Lorimar Productions, for whom he served as executive producer of Being There, that he first encountered the 007 project. After months of negotiation, McClory and I came to an agreement whereby I acquired from him the right to make a film based on the rights he owned.
Since the litigation existed, I knew what the parameters were regarding what we could and could not do.
To write it, he hired Lorenzo Semple, Jr., whose previous genre efforts include Dino De Laurentiis' King Kong and Flash Gordon. To direct, Schwartzman hired Irvin Kershner, after Connery's first choice, Richard (Superman) Donner, turned the offer down. Chief among them is a film version of Alfred Bester's SF classic The Stars, My Destination, which Schwartzman considers "one of the 10 best science-fiction novels ever written." Lorenzo Semple, Jr. Reflecting on the trials and tribulations of returning the real James Bond to the screen, Jack wants to make one final thing perfectly clear. Writers Willard Huyck & Gloria Katz were reported to have been hired to adapt the story further.
He may be a surprising choice for the slick thrills of a Bond film but Broccoli maintains he's a perfect fit."I think he's a great storyteller, and he attracts the best performers. Now, twenty-six years later, the eleventh and most spectacular of the films based on the exploits of James Bond is exploding on motion picture screens around the world: Moonraker! Born in Stockwell, England in 1927, Moore studied his craft at the Royal Academy of Dramatic Art. The public loves the metal-molared menace, and his fan mail is second only to that of Roger Moore! He made his film debut in the 1956 French motion picture C’EST ARRIVE A ADEN, which was followed by nearly one hundred other movies, including the popular DAY OF THE JACKAL.
She left school at the age of eighteen to become e fashion model and, five years later, landed the lead role in the motion picture THE STORY OF O. Her earliest ambition was to become a concert pianist, but at the age of eighteen, she decided to change professions.
Seconds later, the Shuttle’s ignition light turns a fiery red and the craft rockets off the top of the jet. With a leer, he informs the agent that they plan to leave him in the jet after destroying the controls. Then there's the sumptuous garden, filled with rounded examples of womanhood training for Space Shuttle positions.
The local inhabitants use gondolas the way Americans use taxis, and Bond firmly believes that when near Rome, do as the near-Romans do.
As the dazed bodyguard collects his wits, 007 notices his next lead stencilled on the side of the broken box. This deadly stuff will take your breath away!Photo: Only in a Bond movie can a "corpse" become a killer! Since the rich lunatic hires only the best, he takes on the overwhelming, overbearing, overachieving, overdeveloped Jaws to replace Chang. It bore the logo of the Carlos and Wilmsberg Importing Company, a subsidiary of Drax Industries.
But not when the carriage’s only occupants are our two heroes, and the control booth has been invaded by — JAWS!
Clinging together, the pair slides faster and faster, ever downward, gritting their teeth—until, at the last possible moment, they let go of the chain. The ancient dwelling place of saints and clergy is filled with dark-robed monks—but what monks! The second finds itself the attentive object of a tenacious, motor-seeking torpedo launched from the bow of the Q-Craft. Jaws and his fearful crew scramble to escape, but 007 holds the course, driving straight ahead with the engines full out!
The blonde beauty, poised, serene, inviting, stands at the very apex of a giant stone pyramid, having ascended on a stairway etched from the solid rock.
In his long career, Bond has seen too many bridges lined with booby traps, and no less number of trap doors over pools filled with all manner of acquatic danger. With the power of a steel press it constricts him; with the immutability of a steamroller, it forces him ever deeper. With a blast of strength, 007 buries the needle in the snake’sneck, then presses the button. Deciding that it would be difficult to join that group without being discovered, the agents elect to take the place of the Shuttle’s two pilots. The presence of the six pairs of near-perfect astronauts causes a plot to unfold in his mind. He did it using existingtechnology, and right under (not to mention over) the nose of the unsuspecting world! Read the entire "top-secret collector's edition" magazine including all 10 full size Color photo posters, "Licensed to Thrill". But every culture across the world has its mythical heroes who single-handedly take on, with courage and determination, the forces of evil.
With many film credits, including Flash Gordon, The Doctor & the Devils and Brenda Starr, Dalton also appeared in the TV miniseries Mistral's Daughter and Sins. Broccoli kindly asked me if I would be interested in taking over from Sean Connery who was about to relinquish Bond [after Diamonds are Forever]," he recalls.
As a result, d'Abo now speaks both French and English perfectly, although she developed a middle-European accent for her new role. Trained as a dancer, Bliss made her TV movie debut in an equally royal role, portraying Princess Diana in Charles and Diana: A Royal Love Story. And this time, Bond confronts Brad Whitaker, a ruthless and deadly international arms dealer.
Prolific and versatile, he has performed in and directed stage productions in Holland, hosted his own talk show on Dutch TV as well as been a radio DJ. Born in West Berlin of a German mother and Polish father, he studied classical ballet in Berlin, Paris, London and Copenhagen before joining the Berlin Ballet in 1979 and then the Munich Ballet in 1981. Brown was officially dubbed M with Octopussy and has continued to decide 007's espionage assignments with A View To A Kill and now, The Living Daylights. Among Brown's other credits are The Winds of War mini-series, Lion in the Desert and Voyage of the Damned. His work on British television has included I, Claudius, Henry VIII and Reilly: Ace of Spies. Zhivago, Born Free and The Third Man—essays the role, first introduced in The Spy Who Loved Me. Twenty-three interviews were conducted with James Bond fans who had visited one or more Bond film locations in recent years.
Their initial adversary was producer Kevin McClory, whose involvement with James Bond extends back to 1958. That lawsuit was settled by granting the motion picture rights to Thunderball and the copyright to all the other material to Kevin McClory. Therefore, we tailored a script that I feel confident is well within the rights I acquired. Schwartzman says Semple was selected because, "He was diverse enough to have written both Batman and Three Days of the Condor. We saw M as a character who had evolved into a computer-oriented official, the kind of person who might be running British Intelligence today. With money borrowed from my mother's purse when she wasn't looking I sat in the darkness and watched hundreds of movies until I had a pretty good idea of what buttons to push to make the audience laugh, cry or jump out of their seats. Like all the James Bond sagas, Moonraker has a fascinating array of characters ranging from the valiant to the villainous - with a brilliant cast of actors to bring them to life! Born in Detroit in 1939, Kiel held jobs as a cemetery plot salesperson, math teacher, and nightclub bouncer before settling into the colorful career of acting. Studying drama first in Amsterdam and later in London, she appeared in numerous television series before winning a leading part in the motion picture VALENTINO.
In the horrible, flaming trail of the Space Shuttle’s rockets, the jumbo jetliner disintegrates in a sea of boiling, whirling, blackened ash.
But this shapely cabin-mate, dressed in the outfit of a stewardess, has treachery, and not love, in her heart! Finally, there's the workshop, filled with the more mundane likes of technicians and sundry testing equipment. But with a flick of his wrist, Bond sends a dart speeding into the engine of the centrifuge. However, his sea-going craft is no ordinary ship—as several waterbound thugs discover when they try to assassinate our hero.
Bond rings Chang’s death knell by throwing the villain through the zodiac-glass clock face! For 007, this funeral barge becomes a double edged threat!Photo: "Shall we dance?" Bond seems to be asking his oriental adversary. When they surge back into the street, they take a very frustrated, very mad Jaws with them!
Holly has also ascended to the summit of Sugar Loaf, and already learned that the Drax group is sending up planes from the nearby San Pietro Airport every two hours.
A violent and a vicious fight ensues, rocking the ambulance on its shocks—until, with a mighty bound, 007 smashes his attacker onto his empty stretcher and they both bolt out the rear door. Some of them kick up their heels in karate exercises, some hurl bolos that decapitate life-size mannequins with explosive charges, and some turn fantastic ray guns on other dummies who melt into nothingness—oblivion!
Upon entering the earth’s atmosphere, these spheres will disintegrate and destroy all human life with their toxic contents.
Obviously, I don't know what it's like to be a secret agent, and I'm certainly not licensed to kill.
She has appeared in Pope Paul II, Dempsey & Makepeace and other British and American TV productions. There is kind of a family atmosphere about the environment which is difficult to enter, like any family. I remember those early films so very clearly and how each villain had his own way of trying to kill James Bond. In this 15th attempt to end 007's career, Brad Whitaker (Joe Don Baker) sends the one-man demolition squad Necros to beat The Living Daylights out of Bond. The actor's other appearances include a starring role in the German stage production of Marcel Keller's Outputs and music videos like "If You Were a Woman" and Elton John's "Nikita." The "Nikita" video, directed by Ken Russell, led to Wisniewski's screen debut in Russell's Gothic.
In Moonraker, Gray and M venture into the field together, while in For Your Eyes Only, Gray and Chief of Staff Bill Tanner (James Villiers) give 007 his assignment, covering for M (and substituting for Bernard Lee who died during the film's production).Gray returned to aid M (now Robert Brown) in Octopussy, A View To A Kill and The Living Daylights, once again functioning as the liaison who keeps the Prime Minister informed on the explosive exploits of her favorite British superspy.
And James Bond doesn't stay imprisoned for long.For Art Malik, who portrays Kamran Shah, riding into battle alongside a British Secret Service agent seemed a most natural thing.
EON Productions - the production company responsible for the James Bond franchise - had seen the potential of the picturesque island as a location for The Man With The Golden Gun (1974). Visit Kent (a tourism promotion organisation in the English county of Kent) has published brochures that call Kent 'James Bond Country' and state that 'Nowhere are you closer to James Bond and his creator!' Numerous James Bond tours are also on offer elsewhere, for example in London (the 'James Bond Cab Tour' and the 'James Bond Walk') and the Bahamas (the 'James Bond Movie Site Beginners Tour'). At that time, he joined with Bond author Ian Fleming and screenwriter Jack Whittingham in the creation of a film script entitled Thunderball, but he was subsequently unable to raise financing for its production. Several months passed, and in early 1981, I left Lorimar and embarked on a career as an independent producer.
It was as plain as day that she fit the style of the character very well in terms of her look and movement.
Successful movies have a successful formula whether they are James Bond or Laurel & Hardy. Green-eyed and brown-haired, the 5'8” tall beauty was flying home from filming DEATH ON THE NILE when she found herself sitting next to Moonraker director Lewis Gilbert. Lonsdale currently reaides in the Left Bank apartment which he has maintained for over two decades. Guiding a funeral barge beside the unsuspecting agent, they loiter as the “corpse” they carry comes suddenly to life with a very nasty knife in his pale hand! Bond drops off and tumbles to a bruising halt, but the stretcher keeps on going and going until it’s gone, the ambulance guard flying head-first into a roadside billboard. This movie is an adventure thriller, with a sense of humor, and if that is part of my role, then I should at least attempt as much of it as I can.
I had long hair at the time and looked quite different—much younger and perhaps less sophisticated.
When I first arrived in Tangier, I felt a bit like an outsider—but they're all very nice people and Albert Broccoli is the father of the family, looking after his children. Among the excitement and pyrotechnics of a Bond film, it seems the actor has found his oasis.
Though the actor was bom in Pakistan, he was raised in London and determined early on that he was English.
Whoever the actor, they knew the character would still be Bond, James Bond.At first, Maibaum and Wilson readied a treatment that dealt with the change by turning back the calendar and introducing a much younger, much less self-assured Bond. And once you've got the caper, you're off to the races and the rest is fun."There is a greater sense of reality in what's happening this time," Maibaum notes. By tracing the world of Bond and temporarily becoming part of this liminal landscape, fans create the opportunity to embody and perform an imagined masculinity. When this film, which was popular around the world, appeared, Ko Tapu became internationally famous almost overnight. Subsequently, Fleming incorporated much of that material in his eighth Bond novel, also called Thunderball.
Subsequently, Broccoli, United Artists and the Fleming Estate added me to the McClory litigation, and are maintaining the same legal actions against me. At the time I made my deal, it was the subject of the litigation, and I didn't want to be tarred with the same brush.
The fans can come after me if they don't like this movie, but they shouldn't take the writer apart. The villain is an important ingredient in a Bond movie, and Brandauer is a really unique villain. Kim had the right look, and I had seen enough film on her to believe that she could handle the role.
It's not designed to be breathtakingly spectacular, just a stunt which is incidental to the story.
We certainly want to make a good film, and it’s a chance to celebrate a whole franchise as well. His motion pictures include THE LONGEST YARD, THE SILVER STREAK, and the previous James Bond extravaganza The Spy Who Loved Me.
Thus, their next assignment is to somehow follow the madman and stop his plan, whatever it may be.
He is M, the irascible head of the British Secret Service, a man known by that one letter for years. No, Live And Let Die).And once again in The Living Daylights, Q is supplying 007 with new weaponry. Melina Havelock (Carole Bouquet), out for revenge but willing to shed her clothes For Your Eyes Only.Some women have betrayed him. On a theoretical level, this paper contributes to the literature on media pilgrimages, by showing how the symbolic boundary between inside and outside the media is tightly interwoven with other power configurations – in this case, patriarchal notions of masculinity.
Within a few years, it had become one of the top tourist attractions in Thailand, complete with James Bond tours, t-shirts and assorted souvenirs.
During these events, the prospective bridegrooms -dressed as James Bond - are offered Martinis, a speedboat trip on the Thames or an evening in a casino with their male friends.A simple but intriguing question is, why? With the reintroduction of Q to the Bond universe (Ben Whishaw will play the MI6 gadgetmonger in 2013) it seems the pendulum could be swinging back towards techno-trickery soon. He's been a Bond fan ever since he was a little boy, and so he brought this kind of boyish enthusiasm to the process. When I was brought on board The Spy Who Loved Me, the existing script was decidedly weird and bore little resemblance to the traditional Bond movies I had always enjoyed (maybe because The Man With The Golden Gun had been a disappointment and the producers were panicking and gambling on something different). Rosie Carver (Gloria Hendry), a double agent charged with allowing Bond to Live and LetDie. You can have all the magnificent action in the world, but if you don't care about the people involved with the action, then something is lost.
What would take us five minutes with a swipe of a pen on a tablet would take him days to do.
But, at the end of every day, it was rewarding when I found myself in the theater in Vienna miming the pieces with all those terrific musicians. He later appeared in the acclaimed British productions Jewel in the Crown (on TV) and the Oscar-winning movie A Passage to India. Helga Brandt (Karin Dor), the Spectre agent whose gruesome fate lay in a fall to feed the fish, not surviving although You Only Live Twice.Some women have tried to kill him.
Since the title was taken from a short story in the Octopussy collection, Maibaum reread the tale and began asking questions. The Living Daylights is an opportunity to see that Bond is not a thoughtless killer, whom they push a button on and he'll go out and kill somebody."As the script progressed, the search for a 007 was concluded. In order to answer this question, an interview study was conducted in the autumn of 2008 among Bond fans who had recently visited one or more of the locations from the 'world of Bond'. He carries a heaw burden, but he has a lot of fun too."While Skyfall delivers a standalone villain in Javier Bardem's flamboyant, charismatically menacing Silva, Broccoli says that the filmmakers haven't abandoned the shadowy Quantum organisation, gameplayers behind the last two films.
He's like a kid with the ultimate toy, like most men reduce themselves to 12-year-old boys when they come and make a Bond film.
Just the audacity of the technology and the playfulness of how he used it was really quite impressive.What did you want to bring to it creatively?Revamp it, bring a more modern sensibility, perhaps make it a bit edgier.
Tick the boxes on all the things you have enjoyed in a Bond movie.Give the public what they want to see with some novel twists.
He resumed his acting career in 1946, toiling in theater and television before claiming lasting fame as Q."The Bond films are special," Desmond Llewelyn says.
Everyone was delighted to discover that aman they had wanted nearly 15 years earlier was now available. This paper presents an analysis of these interviews,offering an insight into the cultural practices and experiences of these James Bond tourists.
This issue’s Blastermind quiz - over on page 39 - is all about James Bond and his various incarnations. First, though, I discuss briefly the theoretical background to this article and the methodology I adopted.Media pilgrimagesStrictly speaking, James Bond tourism is not an isolated phenomenon. It's part of the fun."His first Bond film was Live And Let Die, which I think is his favourite. The fanatical Rosa Klebb (Lotte Lenya), pursuing him From Russia With Love (or in her case, hate).Some women have died for him.
In recent years an increasing number of studies have investigated the attraction for tourists of locations that are associated with popular films, books, songs and TV series. He has a nostalgic view of these films, chiefly the early ones, and so he's tried to make this a classic Bond film." One classic component of Bond that Skyfall returns to the screen is Q, MI6's resident guru of gizmology, now reincarnated in the beanpole form of rising star Ben Whishaw. There are certain key elements that you need for it to give you that rush of adrenaline, where you're thinking, "Hey, this is Bond, not just another thriller."So what's the process? Who wouldn't want to be 007, sipping a dry martini (shaken not stirred, of course) on the sun-bathed, ocean-lapped terrace of the luxurious Orient Magic hotel as a very beautiful and needing woman plucks at the sleeve of his tuxedo? Do you get the screenplay and try and pick out themes?The first stage is to read the script, have a think about it, sketch out some ideas, talk to the director, see if they've got any preferences or things that they have in mind.
Aki (Akiko Makabayashi), killed by the poison intended for Bond's lips when You Only Live Twice.
According to Couldry, these travels should be defined as 'media pilgrimages', which are comparable to traditional, religious pilgrimages.
And Tracy Vicenzo Bond (Diana Rigg), 007's beloved wife, murdered by Ernst Stavro Blofeld on honeymoon from serving On Her Majesty's Secret Service.And with The Living Daylights, there are a number of new lovelies to catch his eye.
He bases this interpretation on Victor and Edith Turner's classic statement (1978) that a pilgrimage is more than just a physical journey: it is also a symbolic journey towards certain central values of society. When I watched Moonraker with a paying audience for the first time there were initial rumbles of discontent: "Hijacking a lousy Shuttle? But whereas Turner and Turner are still working in a structuralist tradition, and base their ideas on the prior existence of fundamental values, Couldry adopts a poststructuralist approach, analysing how these rituals do not mirror but actively construct certain values.Couldry argues that in the case of a media pilgrimage, these values are implicitly connected to the symbolic authority of the media. Ben's an exciting actor and he plays his own version of the character."The return of Q surely signals the return of Bond's beloved gadgetry, stripped from the franchise by Casino Royale's back-to-basics protocol. We're used to better than that!" Little did they know that within seconds Bond would be thrust out of an aeroplane in flight without a parachute.
Thus, media pilgrimages are not only a physical journey to a location that is important in the context of a particular media story, but also represent a symbolic journey, during which the distance between the 'ordinary world' and the 'media world' is collapsed for a moment. It's got to be in tune with the atmosphere of the movie but it also has to work with the title song.

But this entails a certain cost: making a distinction between the 'ordinary world' and the 'media world', and then creating the impression that this boundary can be crossed, albeit only briefly, reinforces and naturalises the symbolic authority of the media.
And usually I don't even hear the song until quite a way into the process, so it's a bit like doing a music video without hearing the music.
In this way, says Couldry (2003, 28), media pilgrimages function first and foremost as a 'rite of institution'.Couldry's work makes an important contribution to the study of media pilgrimages by showing how theserituals contribute to the symbolic authority of the media. It just has a lot of depth to it, which is what I think audiences have responded to with Daniel." While anyone with an ounce of supervillain in their soul might mourn the days of orbiting death-lasers, Wilson insists that a grounded Bond is the best response to the troubled 21st century. Stromberg was bent on starting a new civilization under the oceans, Drax wanted to do the same thing in space.
By interpreting media pilgrimages solely as rites of institution, the media are placed in a central and dominant position. To avoid this media fallacy and reduce the danger of reductionism, I think we should take into account the cultural embeddedness of media pilgrimages. As a topper I was contemplating melting the polar ice caps in order to drown the undesirable riffraff and create a new, perfect world on higher ground (I should make it clear that this conceit was envisaged by me as writer and not as evil megalomaniac mastermind. In my view, this can be solved by acknowledging the way the authority of the media is related to other power structures, such as gender and ethnicity. This paper takes the first step along that path, by focusing specifically on the relation between media pilgrimages and masculinity.James Bond offers an ideal point of departure for analysing these gender dimensions. That was just "Bond likes to go to bed with girls, and so here's some naked girls." And everybody, including me, at the age of 12, liked to see them - that was the best bit [laughs]! It couldchange in the future.'So could the franchise fully embrace science fiction as it did in the heady, orbit-scraping days of Moonraker?
As Ian Fleming wrote in an essay, he created Bond for 'warm-blooded heterosexuals in railway trains, airplanes or beds' (1963, 14). There's a lot of range in the character and in the style of the films and I don't think anything's out of the question." Skyfall is released by Sony Pictures on 26 October.
The scientific literature views Bond as a unique combination of two classic male ideals: the playboy and the hard-working, self-sacrificing puritan. The female characters - the 'Bond girls' - are either traditional victims or emancipated women, who need to be 'corrected' or 'reconquered' by Bond (Bennett and Woollacott 1987, but see Bold 2005). If Roger slaps a woman it feels uncomfortable (he did it in Live And Let Die and the American audience booed).
Narratively he only becomes a womaniser after he's been double-crossed by the woman in that film.
In other words, the Bond world is an exotic, feminine landscape that needs to be roamed through and mastered.The overt presence of sexual ideology in the Bond texts suggests that the theme of gender is part and parcel of media pilgrimages into the world of Bond. Women are to a certain extent malevolent to him - he's not particularly nice to women, although I suppose in latter days he's become a bit more reconstructed.
He was relaxed and persuasive - one might use the word charming though I do have a reservation: at the end of Spy he pumps the bad guy full of bullets. To put it the other way round, it is at least plausible to suppose that these media pilgrimages influence the gender identity of the people concerned.
I had argued that Roger was a one-bullet man - maybe two a and a quip - but Cubby Broccoli - that hot Italian blood? If we take into account my critical additions to Couldry's approach, this leaves us with the following question: how is the symbolic boundary between inside and outside the media in the cultural practice of Bond pilgrims related to the reconstruction of dominant gender discourses from the Bond texts?MethodTwenty-three semi-structured in-depth interviews were conducted. The respondents were recruited via a call for participants that was placed on eight Bond websites.1 With the exception of one woman and one child, all the respondents were grown men. It's better that it's a bit edgy and a bit dark and we're a bit ambivalent about it, rather than just going, "Ooh, isn't this nice and beautiful and sensual." I'm actually a bit prudish, myself. No), a hideous facial scar (Ernst Stavro Blofield) or discretely webbed fingers (Karl Stromberg) but, regardless of physical traits, as powerful, crazed and intimidating as they come.
All of them regularly visited James Bond websites and were prepared to spend an extended period talking about their interest in Bond. He will be meticulously polite to Bond but capable of staking him over an anthill faster than he sheds the band on his Cohiba Esplendido. Partly because the respondents came from all over the world, it was decided to conduct the interviews by phone. The idea of it coming across as a bit Page 3 is a bit of a nightmare.So what do you want to bring to the Skyfall titles?I think it's time to slightly reinvent it again. Whatever his demented plan for world domination there will be a grain of plausibility in it. The interviews had a semi-structured format: although a list of questions was used, it did not dominate the interview. The poor sap is going to die at the end of the movie but while he is on screen that thought must never cross our minds. The respondents were given an active role in setting the tone of their interviews, so that each respondent had the chance to present his or her own perspective (Bryman 2004, 314-22). The goal of these interviews was threefold: to reconstruct the journey (How did you prepare for the journey? What did you do step-by-step?); to determine the inner experience of the Bond pilgrims (How did you experience being there?
What do you like about Bond?); and to discuss the overall meaning of the pilgrimage (With whom did you share your experience? When 007 staggers away from the centrifuge in Moonraker we can sense what it feels like to have your brains passed through an immersion blender.
In other words, although the interviews were partly aimed at gathering concrete information about the journey, the interview setting created a stage for discussing and reflecting upon the respondents' experiences. In the immortal lines from Goldfinger as the laser beam closes in on Bond's crotch: "Do you expect me to talk?" "No, Mr Bond. In that sense, the interview method was based on a combination of 'what' and 'how' questions (Silverman 2002, 95-101).The results of the interviews are presented in the following sections. The design of the analysis is more or less based on the classic phases of the pilgrimage, in line with the work of Turner and Turner (1978) and Arnold van Gennep (1909).
It seems almost churlish to refer to the "modified" Aston Martin DB5, the submersible Lotus Esprit, "Little Nellie" and the Bell Rocket Belt (Thunderball) as mere "gadgets" but along with wrist dart guns, pen guns, magnetic watches and the rest they form part of the vast panoply of gizmos that have aided Bond in his unceasing war against the forces of evil. First, I describe how the Bond fans withdraw from their everyday lives in order to go and search for the world of Bond. The audience loves 'em and who does not respond to the scene in which Q presents his latest invention or gives Bond the chance to check out the latest works in progress in his laboratory? The second, 'liminal' phase concerns those moments at which the Bond fans are actually on location.
Lastly, during the 'post-liminal' phase, the Bond fans return home, where they recall and sometimes commemorate their journeys.Across the bridge'Earth has nothing to show more fair', wrote William Wordsworth in 1802, in praise of the view from Westminster Bridge. This is because in a scene from the Bond film Die Another Day (2002), James Bond (played by Pierce Brosnan) crosses Westminster Bridge, goes down a stairway and opens a door hidden in a pillar of the bridge. The heroine, for instance, will remain relatively impervious to 007's charms until the final reel when he has saved her life and they are holed up in a conveniently cosy location. Behind the door is an abandoned underground station, where Bond finds M waiting for him with instructions for a new assignment.The door in Die Another Day is a well-known literary technique, comparable to the rabbit hole in Alice in Wonderland, the window in Peter Pan or the train platform in Harry Potter. This woman will be responsible, highly intelligent and probably the recipient of several diplomas. In all these works of fiction, the everyday, often rather boring life of the protagonist is contrasted with a rich fantasy world.
The protagonist only has to open a door, accidentally fall down a rabbit hole or discover some other magical entryway to attain that other, beautiful, exciting world.The difference between the door in Die Another Day and many of its literary predecessors is that this door actually exists - or rather, there is a door in one of the pillars of Westminster Bridge, it was used for the shoots in Die Another Day and it can still be located today. Other very attractive women that Bond meets in the course of the movie will have less developed defence mechanisms, some - saucy hussies - will even attempt to use congress with our hero as a means to obtain information or subject him to the villain's will. Bond will know this but will still enjoy them before, perhaps, handing them over to the police as in Dr. The place is likewise a lieu d'imagination: a physical point of reference to an imagined world (Reijnders 2010). The fact that there is no abandoned underground station behind the door, and no secret entrance to MI6 headquarters, and that it actually leads to a broom closet, does little to reduce the attraction that this location has for James Bond fans. He can reveal this by occasionally referring stoically to his newly married bride, cruelly slaughtered at the end of On Her Majesty's Secret Service. The fact that the door can be seen and touched is enough to justify the journey to Westminster Bridge. Sometimes I ask myself what happens to Bond's latest love interest at the end of every movie.
As Delmo said in his interview, actually touching this door and taking a picture of it, allowed him to make Bond's world 'more realistic' and tangible.2The quest for an imagined world is not unique to the Bond pilgrimage. A great idea can arrive at any moment (the Spy ski jump was spotted in a newspaper advertisement). What is most striking about the Bond pilgrimage is not so much the quest itself as the way in which the quest is performed and described by its practitioners.
Likewise, if Ken Adam designs the world's largest tanker, capable of swallowing several submarines, or a space station that needs three Paris studios to contain it, you had better find a way of giving these objects the screen time the outlay demands. For the James Bond fans, the symbolic difference between the 'normal world' and the 'world of Bond' is first and foremost a difference that needs to be traced and analysed meticulously, in an almost technological way.This comparison is carried out to the last detail. For example, many James Bond fans work with an extensive photo collection - and this requires a degree of preparation. Before the trip, the relevant film is watched a few more times, with special attention paid to scenes filmed on location.
When an identifiable location is spotted, the video or DVD is paused and the stills are printed or photographed.
Once the fan is on location, this collection of stills is compared in detail to what the fan encounters there. Pictures are taken, ideally from the same angle as in the film and under comparable weather conditions. They, the directors - and sometimes the actors or their creatures - may have a line or a piece of business that they have dreamed up and can't wait to slip into the movie. In Moonraker, a potential bedmate has observed to Bond that her mother gave her a list of things not to do on a first date. I have a shelf groaning with screenplays bursting with great scenes and witty lines that will never ever be seen or heard.
Many of these scripts were nearly green-lighted - but "nearly" is a starving cur that roams the streets of Hollywood in packs. The use of digital technology in the more recent films is considered a corrupting factor rather than an additional challenge:With virtual graphics and computer mediated imagery, you can pretty much make anybody, anywhere, do anything. I like to get up there and see how it was done - let my imagination climb up there and think about the whole technical aspects of filming those old scenes .
The contrast with the findings of early studies of media pilgrimages among the primarily female fans of Beatrix Potter (Squire 1993 1994) and Inspector Morse (Thomas 1995; Reijnders 2009) is great. While Potter fans are eager to visit the souvenir shops - where the classic Beatrix Potter tableware brings family memories to the surface - James Bond fans hit the trail with professional camera equipment and use detailed photographic comparisons to reach authoritative conclusions about the 'reality quotient' of specific scenes.Seen from the perspective of the Bond fans, the tracking and localising of film locations offers the opportunity to indulge in a pursuit and to display certain masculine traits.
After all, technology and rational thinking are traditionally defined as masculine realms (Connell 1995, 164-84). As is known from many fan studies, fans are often confronted with negative stereotypes of fandom: they are seen as hysterical fanatics, caught in the spell of superficial media entertainment (cf.
The same applies to Bond fans, who talk about being laughed at by friends and family members for their 'childish' hobby.
The respondents spoke of wanting to get 'as close as possible to the story' and to 'make a connection':I feel like that by actually visiting the location, it feels more real. It's like, not only have you seen it on your TV in your living room, but you have experienced it and walked in the same place.
It creates a sort of casual, realistic connection to something that already has, I guess, a fond place in my heart. Most of the respondents said that while at the location they assume a Bond pose, with their index fingers representing pistols. The remaining experiences of the journey were also described in a way that presents a clear analogy to the visual imagery and events in a typical Bond adventure. The respondents talked about 'tracking' and 'chasing' locations, making ready use of the knowledge of 'local informants' (almost always taxi drivers). The more prosperous respondents rent an Aston Martin and retrace the route that Bond drove in one of the films or novels. Locations that are difficult to reach, whether due to their remoteness or because access is forbidden, are seen as a particular challenge.
Just like their beloved super spy, Bond fans wait for dusk and then, under the cloak of darkness, climb over that one fence or cross that one field to get close enough to take that one unique shot through a telephoto lens. In other words, Bond's spying activities are used as the ideal blueprint for organising their own tourist activities, creating a convergence between the spy experience and the tourist experience (cf. They laughed about the impersonisations and described the whole setting in notions of play. Seen from the perspective of ritual theory, these respondents can be labelled 'pretenders': participants who downplay the ritual structure and prefer to celebrate the loose and playful elements of the ritual (Rooijakkers 2000, 190-4). It is striking that in this case, the one and only female respondent positioned herself as a 'pretender' pur sang:It was only sort of a joke [.
They liked to talk about the deeper meanings they attach to their involvement, echoing notions fromClifford Geertz' work on 'deep play' (Geertz 1972).
They talked about the feeling of having entered this 'other' world, if only temporarily:It's like a kick, you know.
This is the phase in which the Bond pilgrims are the furthest from their everyday lives and momentarily seem to merge into an 'anti-structure', experiencing oceanic feelings of freedom.Notwithstanding these feelings of freedom, the experienced anti-structure cannot be interpreted as operating fully outside the social-cultural world and its inherent ideologies. Anti-structures do not mirror fundamental values but actively participate in the construction of social reality.
Thus, the question arises: what values form the basis of the Bond pilgrimages?In the first instance, the interviews suggest that there is no single answer to this question.
He is seen as a 'strong' and 'brave' man, who is able to surround himself with fast cars, weapons and beautiful women. Bond is 'good at what he does' and lives an 'independent life'.This perception of Bond's character agrees with previous studies that have looked at the sexual ideology of James Bond.
Scholars interpret Bond as a paragon of manliness - a paragon with a strongly conservative and hetero-normative disposition (Chancellor 2005, 79-83). On the contrary, these fans - the majority of whom are white, heterosexual men - adore the character of Bond. Exploring his world and repeating some of his actions affords these fans the opportunity to embody and act out a certain idealised masculinity:A licence to be what you like. In everyday life, at work or at home, a totally different kind of masculinity is often expected. In his book Masculinities (1995), Robert William Connell describes how men in contemporary societies are confronted with a role model of masculinity that is hard to live up to. On television and in films they are presented with the picture that they need to be sexy, powerful, smart and strong, all at the same time. According to Connell, many men have difficulty reconciling this 'hegemonic masculinity' with the social position they occupy in the context of family, friends and work. Elaborating on Connell's work, some authors have spoken of finding a balance between a 'mediated masculinity' and 'lived reality' (e.g. Beynon 2002, 64-8).The Bond locations occupy a special position in this difficult balancing act. They provide the respondents with an opportunity to physically embody a mediated masculinity - if only briefly. As Henri Lefebvre (1991) argued, every ideology needs a geophysical foundation, where individual power relations can be physically delineated.
In line with Lefebvre, one could speak of the Bond locations as material-symbolic sources of masculinity, where the individual's sexual identity can be rediscovered, delineated and reinforced.Despite this, everyday life is often less far away than one would think, even at these liminal landscapes of Bond.
This is certainly the case of respondents who combine their Bond pilgrimage with a normal holiday with their partner. They need to adjust their desire to those of their spouse:Look, I need to plan things a bit with my partner. I mean, then we can visit James Bond locations one day and then we can go shopping for the next four days. By sharing their travel experiences with others (primarily other male Bond fans), they are able to demonstrate their status as connoisseur in a society of like-minded fans, thus creating 'fan cultural capital' (Fiske 1992):You've been doing this for years. After a while, of course, a lot of people start to think of you as sort of an expert in that area. Many respondents talked about regularly going through all the photos and reviving their memories.
Having being present at the scene and having acted out certain poses or scenes has not only brought the film to life, but has also brought back memories that are related to the film.
It is, in other words, a process of reminiscence - of retrieving 'forgotten' memories by repeating actions from the past. The respondents gave extensive descriptions of how they went to the cinema, usually as boys in their early teens, to see their first Bond film. Travelling to the locations from that film -20, 30 or even 40 years later - brings back memories from that period of the respondent's youth, and also brings to mind the symbolic distinction between the boy and the man:When you get older, you get more sheltered. Live the James Bond lifestyle because I've worked hard, you know, graded by the number of professional qualifications.
Although it is not always expressed so explicitly, this experience is common to many of the other respondents. Many people view childhood as a period full of fantasy, but one that is closed, in sharp contrast to the grown-up man's world in which career and social competition take first place.
Their memories of the 1960s are inextricably linked with the imagery in films like From Russia With Love (1963) and On Her Majesty's Secret Service (1969).
Visiting these Bond locations now in 2009 makes them aware of the passage of time:When you're at the spot, you can see what things havechanged since the sixties and seventies. As tourists follow in Bond's footsteps, the common processes of commoditisation and commercialisation have accompanied them. In some cases one can speak of a shortlived hype - a period of two or three years in which the locations are literally inundated with tourists. Other locations retain their attractive power and develop over the years into regular destinations for a band of faithful Bond fans.
Otherquestions also remain unanswered, such as what effects this wave of tourists has on the local community, or what the future of this type of tourism will be.This paper focused on the perspective of the tourists, by reconstructing and analysing their experience of the Bond pilgrimage. Previous studies have shown the importance of the symbolic difference between 'inside' and 'outside' the media for the experience of media pilgrimages. Some respondents emphasised the ludicrous elements of these acts, while others appeared to take the Bond pilgrimage much more seriously.
For them, the confrontation between 'inside' and 'outside' the media is primarily a technologically driven enterprise, focused on gathering photographic 'evidence' and identifying the 'reality quotient' of specific scenes. Comparing the world of Bond with the 'real world' offers them the possibility to perform certain masculine traits, while, vice versa, these masculine characteristics also legitimise the pilgrimage as a whole, in line with the fans' attempts to counter dominant stereotypes of 'fanatic' and 'childish' fans.The liminal phase is focused on bringing Bond 'to life'. The respondents - overwhelmingly white, middle-aged heterosexual men - talked about temporarily 'going into' the world of Bond.
This process is encouraged by performing certain mimetic actions, such as assuming a Bond pose, taking the same route as Bond did or performing complete scenes. They admire Bond for his decisiveness and his wanderlust, and view him as a model of masculinity. By walking in the footsteps of 007, the respondents repeat and re-experience the narrative development, and are able to sneak insideJames Bond for a moment. Some fans decide to upload their collections to one of the many websites for James Bond fans in order to share their experiences with like-minded people, primarily other male Bond fans. By showing their photographs and commenting on the technological skills of the production team, these fans consolidate their status and authority. When it comes to the point, the former functions as a ritual set of instruments for the latter. By tracing, analysing and finally transgressing the symbolic boundary between everyday life and the world of Bond, these fans are able to experience a Turnerian 'anti-structure', a moratorium on everyday life, in the company of an imagined hero. Mimicking Bond at the very place where he was sitting, running, fighting or making love, enables them to recollect the roots of their own masculinity, to refresh it and to define it.More in general, these conclusions show the importance of analysing media pilgrimages in a wider cultural context. The authority of the media does not come about in a vacuum, but is tightly interwoven with other power configurations. In addition to gender, dimensions of class and ethnicity will also need to be explored in further research.
Equally important are those media pilgrimages that seem to subvert existing power configurations. While the Bond pilgrimage tends to reconstruct patriarchal notions of masculinity, other media pilgrimages might actually challenge these values, operating as Bondian 'counterspies'. A critical reader Manchester University Press, Manchester 135-50Beeton S 2005 Film induced tourism Channel View Publications, Clevedon Bennett T and Woollacott J 1987 Bond and beyond.
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