These are United Artists' original Danish ad sheets for "You Only Live Twice" (EON Productions 1967).
The press book was distributed to Danish cinema owners to mark the film's theatrical release in September 1967.
These are United Artists' original Danish ad sheets for "You Only Live Twice" (EON Productions 1967).
The press book was distributed to Danish cinema owners to mark the film's theatrical release in September 1967.
These are United Artists' original Danish ad sheets for "Thunderball" (EON Productions 1965).
The press book (in A4 format) was distributed to Danish cinema owners to mark the film's theatrical release in December 1965.
Today marks the 108th anniversary of Ian Fleming's birthday. But the long-awaited, untitled Fleming biopic, based on Andrew Lycett's 2009 biography "Ian Fleming: The Man Behind James Bond", still seems to be stuck in development hell.
Last autumn, James Bond•O•Rama caught up with the screenwriter of the Fleming biopic, Matthew Brown, at the Toronto Film Festival to enquire about the project.
Matthew Brown, who premiered his self-directed period piece "The Man Who Knew Infinity" at the festival, knew next to nothing about the current status of the Ian Fleming biopic.
● Official trailer for Matthew Browns "The Man Who Knew Infinity" (2015)
Asked about his take on the James Bond author, Matthew Brown coyly answered:
"I think he's a fascinating, complex man, that ... ehm ... Fascinating and complex. I'll leave it at that."
Matt Brown went on to share a few details about his screenplay for the Ian Fleming biopic:
"You know, it was set during World War II, primarily when he met with [admiral John] Godfrey and sort of put his talents to use. That's what that focused on. It was a fun script, I was really excited when Duncan [Jones] came on board [as director]. Maybe he'll come back, I don't know, after this or not. But that was one of my favourite scripts that I'd written. I wouldn't mind directing that one, actually!"
All text © Brian Iskov/James Bond•O•Rama.
Ben Collins, any items you'd fancy from the "Bond in Motion" exhibition?
There's nothing much here you wouldn't want to take home. The jetpack [from ”Thunderball”, 1965] would be brilliant for commuting. There's a dodgy little Renault 11 that had its roof decapitated in "A View to a Kill" (1985). I like that because the car chase was so wild. If I could take one home, it would be the DB5, obviously, because it's such a timeless look.
You drove the Aston Martin DBS in the ”Quantum of Solace” (2008) opening car chase. What was it like for you as a race car driver to adapt to the stunt world?
My job is normally about protecting the car and not putting dents in it. In ”Quantum of Solace”, the door gets ripped off, and the car gets smashed to bits. We pretty much destroyed 12 brand-new Aston DBS cars which brings a tear to the eye. But it looked really cool, so who cares!
Sometimes what looks very simple might turn out to be quite complicated. We did one scene in Siena with the car driving through a tunnel, which didn't look very impressive, but the gap on either side of the wind mirrors was less than a centimeter on either side. Suddenly you realise you could look really stupid if you make a mistake.
Could you describe what it's actually like, driving an Aston Martin DB5? Because I know I'm never ever gonna get to drive one.
It's very smooth, because you've got lots off the suspension than what we get used to in cars these days. There's no ABS, no traction control - a lot of the bullshit, in a way, that we've been infected with with modern cars, doesn't exist on that car. Some people would be horrified to think that this car doesn't have all the electronic aids, and actually it's just very well-balanced, so in a lot of ways, the old style is much more effective than a modern car.
It's a little bit more complicated to drive, but ten times more rewarding than driving some modern box. And you feel everything in the road. When the car takes a corner, you feel it lean over, you can feel the tyres biting at the tarmac. No power steering. It's just got a lot more feedback, so you feel very connected. It's a super car to drive.
Some would say that Bond's DB5 outracing Xenia Onatopp's Ferrari in ”GoldenEye” isn't exactly a plausible scenario.
I guess they were playing with each other, weren't they. They were racing, but not trying to get away from each other. In a straight performance, probably not, and certainly I would say that an Aston DBS is quicker than an Alfa Romeo. But there were a lot of obstacles in Bond's way, and I guess that's what makes the chase exciting.
These are United Artists' original Danish ad sheets for "From Russia With Love" (EON Productions 1963). The duplex-printed A4 sheets were distributed to Danish cinema owners prior to the film's release in December 1963.
Note that the Danish Censor Board altered the rating from "gul" (yellow = 16 years and up) to "grøn" (green = 12 years and up).
In July 1989, the Danish branch of UIP (United International Pictures) released this souvenir programme in triptych format to mark the Danish cinema release of "Licence to Kill". The programme was distributed for free in selected cinemas during the film's theatrical run.
The tagline translates as "James Bond - on his own - out for revenge".