In "A View to a Kill" (EON 1985) a Danish flag can be glimpsed on the bank of the river Seine in Paris, shortly before James Bond 007 (Roger Moore or rather his stunt drivers) drives his stolen Renault 11 taxi onto the roof of a bus.
Time code (Blu-ray): 00:20:03-00:20:04
Thanks to flag-spotter Rikart Olander Købke.
During this summer's unofficial OHMSS 50 celebration for "On Her Majesty's Secret Service" at Piz Gloria, James Bond•O•Rama.dk had the pleasure of meeting long-time EON associate John Glen.
The 87-year-old Englishman edited "On Her Majesty's Secret Service" and directed the second unit on location in Switzerland back in 1968-69. John Glen later performed the same duties on "The Spy Who Loved Me" (1977) and "Moonraker" (1979) before graduating to director on every EON-produced Bond film during the 80's: "For Your Eyes Only" (1981), "Octopussy" (1983), "A View to a Kill" (1985), "The Living Daylights" (1987) and "Licence to Kill" (1989).
In this exclusive chat with Bond•O•Rama.dk John Glen discusses some of his favourite Bond locations as well as the editing techniques of "OHMSS" and other tricks of the trade.
● "OHMSS 50": Pictures from Piz Gloria
● "OHMSS 50": Pictures from Mürren, Lauterbrunnen and Bern
John Glen, what would you name as your favourite Bond location?
I think Piz Gloria [would be at number one]. The Bernese Oberland is probably one of the best locations we've ever had. It's such a vast scene, it's very James Bond in its aspects. [The Bond connection] is the history of this place, isn't it.
I believe Piz Gloria and Schilthornbahn is the only Bond film location ever to write in their contract that they had unlimited means of promoting it as an official Bond location. And apparently EON Productions are not very happy about that.
It's indirectly free publicity, it's still 007, isn't it. And that's the important thing. It's an amazing franchise. Everyone says, how long can it go on for. I remember Lewis Gilbert saying to me that he thought it would probably come to an end after "Moonraker", "maybe that's the end of the series". It cost a lot of money, "Moonraker". Subsequently, of course, all of these new markest have opened up.
The 14th EON-produced James Bond film, "A View to a Kill", was released theatrically in Denmark on August 9, 1985.
Copenhagen-based ad agency Jensen & Dencker produced the theatrical poster for the film's local distributor United International Pictures. The ad campaign combined two pieces of artwork created by Dan Goozee for the US teaser poster and the final US one-sheet respectively.
The film's Danish title, "Agent 007 i skudlinien", means "Agent 007 in the line of fire".
This is the original Danish ad sheet for "A View to a Kill" (EON Productions 1985), issued by the film's local distributor United International Pictures (formerly United Artists).
The press book was distributed to cinema owners in Denmark to mark the film's theatrical release in August 1985.
Note: The Danish title "Agent 007 i skudlinien" translates as "Agent 007 in the line of fire".
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.
