Since Eon Productions did not own James Bond’s first adventure, CASINO ROYALE, the question was which book should they adapt first? Broccoli and Saltzman initially began developing Fleming’s most recent bestseller THUNDERBALL published in April 1961. However, this title was tied up in litigation with Kevin McClory. Picker remembered the reasons behind the final choice, ‘They talked about GOLDFINGER or THUNDERBALL – but for the first movie you had to have a limit on what you could spend and those were more expensive movies to make than Dr. No. We agreed that the first one would be Dr. No and then hopefully if the series took off we would go on from there.’1
David Picker outlined how the studio gained its artist-friendly reputation:
United Artists’ philosophy was very simple: we were never involved in the production. As a courtesy we might go by and say hello, or have a lunch, but the actual day-to-day nature of the inter-relationship between the crew and the cast – unless there was a problem – we knew nothing about it. That just went on without our involvement on any level. The only time we saw them was when they brought the picture in. They had no obligation to report to us in any way, shape, matter or form if the picture was on budget and on schedule, because under the United Artists’ code of business they were free to make their movie as long as they used the script we approved, the cast we approved and the budget we approved.2
United Artists had set a budget of $40,000 for the screenplay3 and Eon set about getting an acceptable blueprint for the first James Bond film.
Having worked on initial outlines to attract finance, Johanna Harwood received the following telegram from Harry Saltzman, ‘Have concluded Bond deal with United Artists. Production starting 15 October. Stop. Urgent do screen treatment break down THUNDERBALL. Stop. DR. NO or THUNDERBALL probably first subject. Stop.’4
Harwood was under starter’s orders, ‘I remember getting the telegram saying that we were going to do it and would I please do the script at once in Paris. I wrote Dr. No mostly over there, although I went back and forward.’5 Harwood was not impressed with the novel DR. NO, ‘I thought it was one of the less good ones. It was the Americans who chose it. By this time I think Ian Fleming was pushing it a bit.’6
When Wolf Mankowitz introduced Cubby Broccoli to Harry Saltzman, he had done so on one condition, ‘If I call and ask if he’ll do a deal, can I write the screenplay?’7 Mankowitz teamed up with Richard Maibaum to develop Harwood’s draft. The novel, only recently a bestseller in 1958, already needed updating, as Maibaum explained, ‘When Wolf and I began working on the script, we decided that Fleming’s Dr. No was the most ludicrous character in the world. He was just Fu Manchu with steel hooks. It was 1961 and we felt that audiences just wouldn’t stand for that kind of stuff anymore.’ Instead the writers created a new villain with Dr. No becoming ‘a little marmoset monkey. We wrote the whole thing, about forty pages. Wolf and I thought it was marvellous and we showed it to Cubby and Harry. Cubby was outraged.’8
DR. NO was Ian Fleming’s sixth Bond novel published in the UK on 31 March 1958. Based on Fleming’s trip to the Bahamian isle of Inagua with Ivor Bryce, Fleming was also inspired by current events – failed early rocket tests had put the USA behind the Soviets in the space race and unrest in the Caribbean seemed to be leading to revolution.
The plot is typical Bond: Fleming’s villain is the son of a ‘Chinese girl of a good family [and a] German Methodist missionary’. Dr. No is an ex-member of the Chinese gangster association – the Hip Sing Tongs and, as a result of embezzling from them, has had his hands cut off and replaced with hooks. He has reinvented himself, including his name – ‘Julius for my father, No for my rejection of him’ – and has built up his base, the island fortress, Crab Key. This fictional isle is home to a rare species of bird, who deposit large amounts of guano (dung), which Dr. No sells lucratively as fertiliser. When a group of ornithologists goes missing while on an expedition to the island, the local Secret Service chief, Strangeways, investigates and is killed. Dr. No does not want anyone snooping around his island in case they discover his real business; he is using radio beams to affect the telemetary of nearby US rocket tests, causing them to fail. It is revealed his backers are the Soviets, seeking supremacy in the early days of the space race. Bond encounters the Three Blind Mice; has a giant, poisonous centipede crawl dangerously up his naked body; and is trained by Quarrel, his Cayman islander friend from LIVE AND LET DIE, prior to his journey to Crab Key. The finale has Bond undergoing a torturous obstacle course observed by Dr. No in some sort of warped experiment in pain. Upon escaping Dr. No’s lair Bond is forced to do battle with a giant squid before killing Dr. No by burying him in guano. The film followed the basic story with many of the same events, but liberties were taken with the source material and the characterisation of Bond. Harry Saltzman would later say of Fleming’s work, ‘The books are larger than life. As a matter of fact, I think we are closer to life-size than the books are.’9 This would be the first and last occasion that would be true.
Harking back to Broccoli’s experience at Warwick producing for a global audience and Harry’s nuanced, sophisticated European world-view, the producers were mindful of staying clear of politics. A few years later Cubby Broccoli reflected, ‘We try to make entertainment for the man who sits in the seat because he’s the critic, he’s the judge. The theatres are full of these critics. They like this kind of picture because it’s escapism and they identify themselves with what’s on the screen. We know this. They don’t want to be identified with any political arrangement or any political figures.’10 In a key change, Dr. No would not be working for the Soviets; his backers would now be SPECTRE, the organisation originally featured in THUNDERBALL (the novel which was still subject to legal dispute). Interestingly the Bond film plots almost never depended on Cold War allegiances.
United Artists’ London chief, Bud Ornstein, wrote to David Picker in New York on seeing the first draft of the screenplay, ‘I must tell you that personally, I have not been too impressed to date with Maibaum’s work and only hope that he will come up with something much better this time as we have had many story conferences with him.’11 Fleming suggested thriller writer Berkely Mather (the pseudonym of Lieutenant-Colonel John Evan Weston-Davies) perform an uncredited polish and Mather delivered a draft on 28 November 1961.12 Mather was also the author of THE PASS BEYOND KASHMIR, a film of which Eon would later announce as one of their future productions starring Sean Connery.13
Harwood understood why Mather had been brought in, ‘He was supposed to masculinise the dialogue, that’s why they got someone with army experience.’ Upon reading Mather’s draft, ‘Harry Saltzman rolled his eyes and said, “This won’t do at all”. He had them all talking like Chicago hit men.’14 Harwood claims that when Mather saw a preview of Dr. No he changed his mind and wanted a screen credit.15
Harwood did not meet her other collaborators,‘We never wrote it together. I never met Mankowitz, I passed Maibaum a couple of times on the stairs and he always said “Good morning” very pleasantly. But he was a pro.’16 The final Maibaum and Mankowitz screenplay was delivered on 12 December 1961 and it was on this fourth draft that the final budget was calculated.17
If finding the right tone was difficult so, too, was finding the right director. United Artists had final approval as Bud Ornstein recalled, ‘based on the treatment, directors so far have shied away from the project. I feel that it is all important to get the director assigned as soon as possible so that he can adapt the script to his own thinking.’18 Broccoli and Saltzman allegedly favoured Phil Karlson but his fee of $75,000 was well over the $40,000 budgeted for the director.19 David Picker also felt, because of the subject matter, ‘It was clearly going to a British not an America director.’20
Bryan Forbes, Guy Green and Ken Hughes all turned down the film.21 Guy Hamilton and Terence Young were the frontrunners,22 but Hamilton had to turn it down for personal reasons.23 In any event, United Artists felt that, despite Young’s ‘tendency to go over schedule and budget’,24 he was the right choice. Picker explained, ‘It was easy to say Terence was the living embodiment of James Bond – his style of dress, his style of life – he could have played James Bond himself.’25
Terence Young was the prototypical James Bond. Young appreciated the fine things in life and could match Fleming with urbane superiority:
I’d met him through his wife, Ann Rothemere. I also met him through Noël Coward. I’d been staying at Noël’s house in Jamaica and Ian was there. We met just after I’d been signed to do the picture at some big press show put on by United Artists. He said, ‘So they’ve decided on you to fuck up my work.’ I said, ‘Well, let me put it this way, Ian, I don’t think anything you’ve written is immortal as yet, whereas the last picture I made won the Grand Prix at Venice. Now, let’s start level.26
Young went to work immediately on the script with who he called, the ‘continuity girl’, Johanna Harwood, ‘[We] took a room at the Dorchester Hotel and we worked day and night.’27
Harwood remembered Terence Young’s involvement in the script rather differently, ‘It was a joke really because what he had done was pretty well copied paragraphs out of the book. There were great big swathes which said “Bond thought hard about what he was going to do next.” Things you can’t put in a picture at all.’28 The Young-Harwood draft was dated 8 January 1962, a mere eight days before principal photography was due to begin in Kingston, Jamaica. Upon seeing the finished screenplay Broccoli recalled that Wolf Mankowitz requested his name be removed from the credits of the film.29
Previous accounts of the making of the film suggest that Harwood’s sole contribution to the writing of Dr. No was the topical joke of having Dr. No behind the recent theft of Goya’s portrait of the Duke of Wellington. She recalled, ‘I came up with the idea at a script conference at Harry Saltzman’s place.’30
Over fifty years later, Harwood reflected:
By now of course the whole thing is chewed around the edges as you can imagine – everything has been changed by one person, by two people. It would [have] been nice to go back to the very first script I did. Of course they are not going to admit that’s a good idea – because they’ve just spent thousands paying all these other people. So I do what I can with all the scripts lying around pasting and cutting and rewriting. We are running out of time now more or less. At some point someone says ‘What’s this little girl doing writing tough dialogue?’31
Beyond the obstacles of writing the screenplay and choosing a director, the greatest task was to find the man who would be James Bond. The film had a budget of $140,000 for the entire cast.32
Cary Grant was a Bond aficionado but was considered too expensive and, even if he had been affordable, would not sign for more than two films.33 This was despite having been Cubby’s best man at his recent wedding. Fleming was acquainted with another star who might have been suitable for the role: David Niven. The actor recalled bumping into the author at Boodles, the gentleman’s club in London during the war, ‘we laughed together at the same things for years to come’.34 However, Broccoli felt Niven was not tough enough for the part.35
Before any actor had been cast, Fleming envisaged James Bond should have a background similar to himself. Bond’s mother was Swiss and his father was from a Scottish family, but raised in England. Fleming had conceived Bond’s Scottish ancestry when researching the Bond family name years before.36 Fleming thought Bond resembled the golfer Henry Cotton and in CASINO ROYALE Vesper Lynd likens him to one of the great songwriters of the age, Hoagy Carmichael. According to Fleming’s stepson, John Morgan, Fleming actually had an actor in mind to play Bond: the little known Edward Underdown.37
Broccoli recalled, ‘[United Artists] were reluctant to make the series using an unknown actor but eventually, after some talk, we did get an understanding that the picture would be done, if it could be done cheaply. In short, a million dollar budget – tops.’38 United Artists had wanted a big name to play James Bond. However, since Eon Productions had conceived a series of six films, to be released one per year from 1962 onwards, they were unsure whether a star would commit to such a long tenure, and if so, how much for.
An apocryphal story is that Fleming initially thought the then unknown actor Roger Moore would make a good Bond. That Fleming had even heard of Moore is only likely because the British actor was well acquainted with Fleming’s best man, Noël Coward. Moore himself was sceptical of the story, ‘I wouldn’t think so because it was ’56 when we worked together.’39 Broccoli thought Moore ‘slightly too young, perhaps a shade too pretty. He had what we called the “Arrow collar” look: too buttoned-down smart.’40 Another actor purported to have been considered was Patrick McGoohan who had starred in the 1956 Warwick film Zarak and was enjoying great success in the television series Danger Man.
Harry Saltzman also mentioned McGoohan along with actor Michael Craig.41 However, it is alleged that McGoohan, a strict Catholic, turned the role down on moral grounds. Saltzman thought his own ‘kitchen sink’ star Albert Finney could also have been a good fit. Other names mentioned by Broccoli included Terence Howard and Michael Redgrave, while Director Terence Young wanted Richard Johnson to play the role.42 Young, however, was one of the few directors who had worked with the eventual choice, Sean Connery, who he met when working on Action of the Tiger (1957).
Many individuals have taken credit for bringing Connery to the attention of the producers. Lana Turner was the first to introduce Broccoli and the Scotsman on the set of Another Time, Another Place in 1958. Cubby’s first impressions were, ‘He was a handsome, personable guy, projecting a kind of animal virility. He was tall, with a strong physical presence and there was just the right hint of threat behind that hard smile and faint Scottish burr.’43 Broccoli could see the latent appeal in the actor, ‘The movie he was making with Lana was poor, but it revealed other potential in Connery. A flair for wearing stylish clothes and an easy, confident style in front of the cameras. It was this image that persisted in my mind.’44
In summer 1961, while at Goldwyn Studios in Los Angeles, Cubby attended an advance screening of the live action Disney musical Darby O’Gill and the Little People – one of Connery’s first leading roles. Dana Broccoli recalled, ‘[Cubby] said, “I’ve just seen an actor and I think he’s terrific but I don’t know if he has any sex appeal. I was just knocked out by him. I thought he was just incredible.”’45 Peter Hunt, who would eventually edit the first Bond film, recounted how he had known the director and the producers individually before production:
I had been acquainted with the director, Terence Young, since I was sixteen. I later did some special work for Cubby Broccoli and Irving Allen. I also knew Harry Saltzman, and one night we were having dinner. At the time I was working on a film called On the Fiddle, with Sean Connery. Harry began talking about how he was going to make these Bond films with Cubby Broccoli. They were discussing who was going to play Bond, and I sent up a couple of reels of Connery. Whether that influenced them or not, I don’t know. Anyway, they asked me if I would be the editor.46
Connery was born on 25 August 1930 in Fountainbridge, Edinburgh and left formal schooling aged thirteen. After a number of jobs including delivering milk and coffin polishing, he enlisted in the Royal Navy to travel the world. Unfortunately he only got as far as Portsmouth and was invalided out early due to stomach ulcers. He settled on acting because it offered more longevity than his other career opportunity – a professional footballer for Manchester United. By the time the Bond offer came up Connery had carved a solid career as a working actor on stage, television and film, doing B-movies and the classics.
Just prior to shooting Dr. No Connery married his long-time partner, the actress Diane Cilento. She remembered, ‘Sean was given the James Bond books to read and received a callback for an audition. He gave me the book for my opinion. I found the dialogue stilted, the character of Bond relentlessly awful unless he was given a sublime sense of humour, and the violence, or “license to kill” stuff, could only be brought off if it was accomplished with a lot of ritualistic absurdity and fun.’47
With this advice ringing in his ears Connery set out his terms at Eon’s South Audley Street offices:
Broccoli called and said he had this Fleming film and thought I might fit the part. He asked me over and after we discussed it a bit further I said I would be interested provided they put some more humour into the story. I felt this was essential. He agreed, then said, when can you test? I asked what test? He said a film test. I said, sorry, but I’m not making tests. I’m well past that. Take it or leave it but no test.48
Harry Saltzman recalled Sean’s behaviour during the meeting, ‘Whenever he wanted to make a point, he’d bang his fist on the table, the desk, or his thigh, and we knew this guy had something. When he left, we watched from the window as he walked down the street and we all said, “He’s got it!”’49 Broccoli remembered, ‘One of the things that appealed to us both was the way he moves, he moves like a cat, he moves very well.’50 Saltzman agreed, ‘For a large man he moves extremely well. He had acting ability, he had experience, he was the right age. I might tell you we had a lot of opposition when we picked him from everybody.’51
The producers were always adamant they needed a slightly tougher British figure to play Bond to add the requisite level of machismo to the gentleman spy. Saltzman said, ‘When we spoke to him, [we] saw he had the masculinity the part needed.’52 Broccoli noted the misconception about the literary Bond, ‘There was a general feeling that he should be the school-tie hero, here in England. And he isn’t.’53 Saltzman agreed their Bond was a tougher interpretation, ‘There was a kind of an idea from the books that he was a very well bred, well educated, very erudite gentleman. Actually in the books, he isn’t. He doesn’t read. Actually Ian Fleming’s picture of him was not as an educated gentleman. Ian Fleming [said he] was a blunt instrument. And we try to keep him in that image.’54
Broccoli understood the key to the success was to make the unknown actor become Bond. ‘If the books were successful, they would make whoever played Bond famous. A star couldn’t have been tied up for a series of pictures; and we felt this to be vital. United Artists had failed with Micky Spillane because they used a different star each time and the public got no chance to form an affectionate identification with him.’55 Associate Producer Stanley Sopel remembered:
I think they always knew from day one that Sean Connery would be Bond. He didn’t look like anybody’s idea of Bond when we first saw him but there was something there. We did go through the motions of screen-testing some fifteen or twenty hopefuls, of everybody’s idea of what Commander Bond should look like: 6’ 2”, British upper-crust, with the sort of chiselled face. Had a genius come out of that testing, Connery probably wouldn’t have gotten the part, but he was it from the beginning.56
Eventually the balding 31-year-old actor did screentest, under the guise of auditioning actresses for the role, at Pinewood. Upon receiving the material of Connery in New York, Picker and Krim telegraphed, ‘NO. KEEP TRYING.’57 On 23 August 1961 Cubby reported the words of United Artists’ West Coast chief Robert Blumofe to Harry, ‘New York did not care for Connery, feels we can do better.’58 But UA’s Bud Ornstein in London supported the producers’ choice, ‘He is the best we have come up with to date and I do believe he could be James Bond.’59 Sean Connery was announced as Bond in The Daily Cinema on 3 November 1961.60
Connery appreciated the opportunity ahead, ‘I could see that, properly made, this would be a start – a marvellous opening. It had the ingredients of success: sex, action, and so forth. The only thing lacking, I thought, was humour.’61
Finding Connery was only the beginning. Not only did he have to act Bond, he would have to become Bond. Terence Young took Connery on an extensive crash course in all things refined. Various sartorial establishments in London dressed Bond: tailored suits from Anthony Sinclair of Conduit Street, shirts and ties from Turnbull and Asser of Jermyn Street, his trilby hat from Lock and Co., and handmade shoes from Lobb and Co., both of St James’s Street. Young schooled Connery in the background and manners one would expect of Fleming’s Eton- and Fettes-educated spy. He advised Connery to sleep in his suit to get comfortable with it, taught the actor to eat with his mouth closed. Young tutored Connery into becoming the refined gentleman spy. Diane Cilento recalled, ‘Terence Young had a son called [Shaun], so he called my Sean, “Junior”.’62
Production buyer on the film Ron Quelch attended Eon’s offices at South Audley Street to talk about the character James Bond, ‘It was basically a meeting covering all the amenities/aspects of Bond himself. Would he have cufflinks? Would he have a tiepin? What watch would he have? That went on for the best part of a day.’63
Connery admitted, ‘I had only read two of Ian Fleming’s books before filming began. The thing was, I found Fleming much more interesting than his writing.’64 Connery shared his feelings further, ‘When I first met Fleming there was certainly no dissention between us on how to see Bond. I saw him as a complete sensualist – senses highly tuned, awake to everything, quite amoral. I particularly like him because he thrives on conflict.’65 Watching Connery as Bond entering his flat after the introductory gaming scene, observing his panther walk gleaned from years working with ballet dancer, Yat Malgrem, and seeing him smell Miss Taro’s towel and cooling his silencer after killing Dent – Connery’s effortlessness in these scenes belied the training of a professional actor. Wearing a hairpiece for even his first Bond film, Connery’s saturnine Bond look was confected by the make-up department of John O’Gorman and Eileen Warwick.
Prior to shooting Connery explained his approach to the character, ‘James Bond is very much for breaking the rules. He enjoys freedom that the normal person doesn’t get. He likes to eat. He likes to drink. He likes his girls. He is rather cruel, sadistic.’66 Connery worked with his director to lighten Bond, ‘Terence Young, agreed with me that it would be right to give it another flavour, another dimension, by injecting humour, but at the same time to play it absolutely straight and realistically.’67
Eon now needed to cast the first Bond girl, Honey Ryder. Martine Beswick, then new to the film industry, was up for the part, ‘When I went to meet Terence Young, he took a good look at me and said, “You’re too young and you need experience. Go and get some experience. Because I have an idea for you. I want you for my next film.”’68 Also up for the part was Gabriella Licudi, who, at twenty, was also deemed too young.69
Then Broccoli happened to spy a photo of a woman in a wet shirt amongst the hundreds of photos of actresses floating around Eon’s offices and thought ‘she looked very attractive – wet – like a sea lion.’70 Broccoli followed this up with a call to Casting Director Max Arnow, who informed him, ‘No photograph can catch the beauty of this girl.’71 However, Arnow went on to say, ‘she has a voice like a Dutch comic.’72 Broccoli was not put off, but time was running out – they had two weeks before they were to begin shooting.
Ursula Andress remembered her big break, ‘I was in Los Angeles at that time. I said, “Ok send the script over.” Everybody knows I never really read the scripts because I never really wanted to work.’73 During a party hosted by Andress and John Derek, Kirk Douglas picked up the script for Dr. No sitting unread on the table. Douglas read the script aloud to the party guests. ‘We all laughed. He just read a few pages to me and everybody said “Ursula do it. It’s Ian Fleming – a writer who is liked all over the world.” Douglas said, “You should do it.”’74
Dr. No established the three-girl Bond formula: an initial, fun dalliance with a girl; a more intriguing tangle with a girl who works for the enemy; and then a final-reel encounter with the leading lady. In the opening of Dr. No audiences meet James Bond across a hazy baccarat table as he challenges femme fatale Sylvia Trench – the first James Bond girl – in a game of chemin de fer. Eunice Gayson had starred in Terence Young’s 1956 Warwick film Zarak. At the time of the making of Dr. No, Eunice was starring in the London stage production of The Sound of Music and composer Richard Rogers would not release her from a long theatre run. Young suggested that he write a small part for her that could be filmed around her stage schedule (she needed to be in London by the early evening making her unavailable for long filming days). She had known of Sean Connery, having seen him on stage in the Oxford Playhouse. They subsequently became neighbours and he visited her flat to share his incredulity that he had been cast as Bond.75
Zena Marshall was the second actress in the structure: the villainess Chinese minx Miss Taro. While having lunch with Terence Young, he had been complaining that they had tested thirty oriental actresses but still could not find their girl. Zena merely suggested, ‘What about me?’ On 21 December 1961 she found herself opposite Sean Connery in competition against Talitha Pol, Lina Margo and Violet Marceau for the part.76 The tests were lensed by Geoffrey Unsworth, who would go on to become a legendary cinematographer in his own right.77
In the novels Bond has a flirtatious relationship with his own secretary, Loelia Ponsonby, while M’s personal assistant – Miss Moneypenny – is cool and distant. The film version of Moneypenny is a blend of both characters. Lois Maxwell won the role of cinema’s most famous secretary when her husband – television executive Peter Marriot – became seriously ill in 1961. Maxwell explained her predicament, ‘It was on my son’s second birthday. Right out of the blue Peter had a double coronary. The doctors didn’t expect him to live and I knew I would have to find work to support us all. So I phoned round some of the people I knew in the film business and pleaded for anything they could give me.’78
Maxwell had appeared in Young’s 1948 production Corridor of Mirrors, ‘I called Terence Young and Cubby Broccoli – who was a friend of my husband Peter – and said “I need a job as soon as possible.”’79 They offered Maxwell one of two parts – Miss Moneypenny or the aforementioned Sylvia Trench. Lois joked her legs were not her strongest offering and that she ‘didn’t fancy the idea of being seen in a pyjama top [either]. I thought there might be a chance of playing Moneypenny again if the film was successful – which would, of course, be good for the family finances.’80 At the wrap party Maxwell recalled meeting Ian Fleming. ‘He came up to me after seeing the film – or, rather the rough cut – and said, “When I wrote the part of Miss Moneypenny, I had, in my mind’s eye, a tall, elegant woman with the most kissable lips in the world. And you are precisely that.”’81
Bernard Lee was cast as Bond’s Secret Service chief, Sir Miles Messervy, known as ‘M’. Lee had been a Warwick regular and had played a series of important roles in key British films including Carol Reed’s The Third Man (1949). Lee’s M would be more of an authoritarian figure for the film Bond to rebel against than the tough father figure of the novels.
Peter Burton played Major Boothroyd – the armourer. The way Bond is handed his Walther PPK with the gun fetishized as a gadget would become a trope of the series with Bond’s equipment being explained by the quartermaster, soon to be known simply as ‘Q’. The reference to the weapon jamming on his last mission was a nod to the literary Bond, who at the end of FROM RUSSIA WITH LOVE is left for dead.
Ian Fleming had suggested his friend and neighbour in Jamaica, Noël Coward, for the title role. Coward wittily cabled the author, ‘Dear Ian, the answer to Dr. No is No, No, No, No!’82 Harry Saltzman had admired Joseph Wiseman as a drug fiend in Detective Story (1952) and the noted Canadian stage actor was promptly cast as the Chinese scientist.83 Made up to look vaguely oriental and dressed in a Mao Tse-Tung tunic, Wiseman’s character wore black metal gloves instead of hooks. His cold line readings and economical movements formed the template for future Bond villains. Wiseman later said, ‘I had no idea what I was letting myself in for. I had no idea [the film] would achieve the success it did. As far as I was concerned, I thought it might just be another grade B Charlie Chan mystery.’84 Johanna Harwood remembered a more enthusiastic actor on set, ‘He was there at the script conference and I remember going out to Pinewood or coming back from Pinewood in the same car as him once and he chatted very enthusiastically about the script and about the film.’85 Sean Connery’s wife, Diane Cilento, admired Wiseman’s ‘amazing face and a vulnerable passion that simmered just below the surface.’86
Casting was rounded out by some notable supporting players: Felix Leiter was played by Jack Lord, who would go on to worldwide television fame as Steve McGarrett in CBS’s Hawaii Five-O. Professor Dent was played by Young’s long-time friend Anthony Dawson and Bond’s Cayman Islander ally, Quarrel, was personified by American John Kitzmiller – a Fellini alumnus and winner of the 1956 Best Actor award at Cannes.
To create the world of James Bond, Broccoli brought in department heads from his Warwick days: Director of Photography Ted Moore and Production Designer Ken Adam, assisted by Art Director Syd Cain, who put all the money on the screen.
Broccoli also brought in composer Monty Norman early on in production. He recalled, ‘I had written a musical called Belle or the Ballad of Dr. Crippen. One of the main backers was Cubby Broccoli. It was murdered frankly by the critics. [Cubby] was furious and he said, “One of these days we’ll do something together again.”’87
Years later Broccoli called Norman, ‘He said “We are doing the James Bond material. Would I like to do the first one?” I was about to say, “Can you give me a while to think about it?” When Harry Saltzman said, “We’re doing all the location in Jamaica why don’t you come out with your wife all expenses paid” – and that was the clincher!’ He continued, laughing, ‘Suddenly I found time. My wife [actress Diana Coupland] and I thought, “We don’t know if this is going to be a big flop of a film, but at least we’ll have sun, sea and sand for a few weeks.”’88
Dr. No embodied the electronic age and Ken Adam wanted to innovate, ‘My previous experience of Pinewood hadn’t been that great. I called in all the heads of department – the construction manager, the chief plasterer, the chief painter – and said I wanted to play around with new materials, new technologies, new techniques, anything they could think of. They rose to the challenge. That stimulated my imagination.’89 Adam’s initial reaction to the screenplay was not great, ‘My wife Letitzia read [the script and said] “You can’t possibly do this. You would prostitute yourself.” I remember being offered a profit participation deal by Cubby and Harry. But because of my reservations about the script, I turned down the offer.’90
Adam recalled how the days leading up to principal photography were spent: ‘We went down to Florida to look at marsh buggies, [as the basis for the dragon tank used to scare the locals from being too inquisitive] and then to Jamaica, but we didn’t have a great deal of time because we had to start shooting. Then Syd Cain, my art director, came out to join us. I supervised the main locations but went back to London to work on the sets.’91
On 16 January 1962 Dr. No began filming at Palisades Airport, Kingston.92 Monty Norman felt the fun started with the journey to Jamaica, ‘Broccoli and Saltzman chartered a plane to take the whole British contingent to Jamaica. They were a motley bunch consisting of technicians, actors, stuntmen and essential film crew. During that long flight they all got to know each other very well and it became like a showbiz party.’93 The first shot in the can was of Sean Connery in a phone booth staring intently at his chauffeur, played by Reggie Carter, who Bond has just discovered is working for the enemy.94
Throughout January and February 1962 the crew flitted all over Jamaica shooting both scenes set on the island and those at the fictional Crab Key. The unit went to Government House where Bond meets Pleydell-Smith and smells the trail of Miss Taro and Professor Dent.95 They then found themselves at a concrete factory in the Blue Mountains where car action was filmed on a private road in the vicinity.96 Stuntman Bob Simmons drove both the convertible Sunbeam and the ill-fated hearse97 in which the villains met their demise chasing Bond.
Ursula Andress arrived on the island in February 1962. It was the first time she met the producers and Terence Young, having never screentested for the role. Andress’s first scene was the closing shot of the picture: Bond casting their boat adrift from Leiter’s US Marine gunboat.98
During production Ian Fleming, with his wife Ann, journalist Peter Quennell and poet Stephen Spender, visited the unit while they were shooting in Falmouth. Fleming paid particular attention to Andress, ‘He always came on the set and we talked and then he invited me to dinner in Ocho Rios at Goldeneye – his house. He was a very interesting man, he was very intelligent, interested in culture. He was James Bond.’99 Ursula had read the Bond novels and considered them, ‘Very well written, very fun and very educational in many things.’100 Ever playful, Fleming wrote the actress into the new Bond book he was currently writing – ON HER MAJESTY’S SECRET SERVICE. Monty Norman was impressed by Fleming, too, ‘I also went to his house once – Goldeneye. He was very interested in West Indian music [and] in the idea of doing something for Ursula Andress, as she comes out of the water, some piece of music.’101 In the novel, Bond sings the calypso, ‘Marion’.
Ursula described Connery and Young as great mentors, ‘I didn’t know hardly anything about acting and Terence and Sean were very helpful to me. The thing I remember the most was that we were like a family – Sean, Terence and I – we were like a family together.’102 Monty Norman mainly ‘socialised with Jack Lord. He was a lovely man, and he and his wife and my wife and I used to see quite a lot of each other. What we used to do quite often was have dinner together at one great long table. To be fair to Harry, he was also part of it and Cubby was that kind of man.’103
Laughing Water, the estate of Mrs. Minnie Simpson, was the locale of Honey Ryder’s entrance from the waves in a stunning bikini complete with hunting knife.104 In Fleming’s novel Honey emerges from the water, completely naked, her hands covering her groin and, endearingly, a broken nose, leaving her breasts on display. No censor was going to pass such a scene for a general 1962 audience. Upon arriving in Jamaica Andress had collaborated with costume designer, Tessa Prendergast, on the making of what was still, in the sixties, a rather risqué piece of clothing. Fashioned from a British Army webbing belt, Andress fitted her ample frame into the most famous bikini in the world. She noted a common misconception about the item of clothing, ‘It’s not actually white – it’s a sort of ivory colour.’105 Ursula was unsure of the initial design – a traditional Jamaican style, ‘I didn’t like the palm trees or the leaves or the tropical flowers on the print of the fabric. I wanted something very simple. I had a very special idea about how I wanted the bikini. We designed it together. I chose the material, I didn’t sew it, but I helped to cut it!’ The design also had to be suitable for the action sequences, which required a lot of ‘running and falling’.106
On 8 February 1962 Ursula Andress emerged from the warm Caribbean water and embedded herself in the imagination of billions of viewers for generations to come.107 The bikini was sold years later in 2001 at auction for £41,125 – more than twenty-seven times her £1,500 salary for appearing in Dr. No.108 ‘It was a rag. Who wanted it? I was going to throw it away and then a friend of mine said “Oh keep it!” I had it in a box in Los Angeles for years.’109
One of the key people Monty Norman met while on location was Chris Blackwell – the son of Fleming’s sometime mistress, Blanche Blackwell, and heir to the Crosse and Blackwell food fortune. Blackwell served as a location manager on the film, but was also an unofficial music guide. Norman recalled, ‘They were sensible enough to know the Caribbean music, which hadn’t been used that much in films was a good idea for that film. Practically all the Caribbean stuff was recorded in Jamaica.’110 Monty Norman ‘had a lot to do with Chris. I suppose he was the man who knew the area’111 and was full of praise for Byron Lee, who ‘was a big band leader in Jamaica and the West Indies.’112 Vocal duties on the songs by Lee’s band, the Dragonnaires, were taken on by Eric ‘Monty’ Morris.113
The crew went next to Reynold’s Bauxite Docks to film the exterior of Dr. No’s Crab Key hideaway. This site would be recreated in miniature by special effects technician John Stears back at Pinewood Studios. Ultimately the model would be blown up – the first of many explosive finales to the Bond films.
The Vanzie Swamp Salt Marsh was the setting for Bond’s, Honey’s and Quarrel’s – encounter with the dragon tank,114 used by Dr. No to keep the locals at bay; these scenes were themselves somewhat cursed. Firstly the tank, made in Miami, was delayed due to a freak snowstorm in Florida and upon arrival it was discovered the vehicle had been damaged in transit.115 The conditions for filming with it were terrible, as the crew were beset by leeches and mosquitoes on the marshes.116
The unit left Jamaica on 23 February 1962.117 Despite harmonious working relationships the location shoot had been plagued by unforeseen problems – local work practices, bad weather, delayed actors and equipment. Many shots had not been captured and the production had gone over budget; work would resume at Pinewood Studios.118
The addition of Bond gambling in the small hours at Le Cercle was inspired by the first time we meet Bond in Fleming’s debut novel CASINO ROYALE. Terence Young was also taken by the introduction of Paul Muni in the 1939 film Juarez119 – James Bond is seen from behind and in profile, but never fully revealed. Ken Adam’s magnificent set had been based on Les Ambassadeurs in London; it was the perfect stage to introduce the screen Bond. We see Bond being chased on the chemin de fer table by the stunning Sylvia Trench in a striking red dress who prompts his introduction, ‘Bond. James Bond’. Young deliberately altered the timing of the scene so that instead of flicking his lighter and uttering the words, Connery paused a beat and then exhaled as he reveals his name, for the first time, through a haze of smoke.120 Eunice recalled Connery was nervous before they shot the scene and was asked by Young to help Sean relax. After lunch and a few calming drinks, the scene was captured in posterity for the delight of generations.121
Zena Marshall recalled spending days in bed with Sean Connery. She later thought some of what they shot must have been cut out by the censor:
Ian Fleming … seemed to think my role was important, this enemy agent making love with Bond, each tacitly knowing the other is out to kill them. There were a few retakes because Terence wanted us to relax into the mood of lovemaking and we did some sections twice for different markets. In Ireland, for example, they couldn’t see my tits, so more covered up [publicity] shots were taken … Sean was very rough and raw but his charm was exceptional.122
Someone else who would spend days in bed was stuntman Bob Simmons. Sean Connery was terrified of spiders and a plate of glass was placed between him and the arachnid for the scene involving a tarantula crawling up Bond’s body. However, reflections could be seen in the glass and Broccoli requested Simmons allow a real tarantula to walk across him.123
Andress, too, was subject to exotic animals. In the novel, part of Dr. No’s experiment in torture is to tie up Honey and observe her being devoured by migrating crabs. A version of it was filmed in the studio, but Andress recalled, ‘It was cut from the film because the crabs were too frozen – they had been flown in and they had to be de-iced. Terence suggested hot steam – they ended up half cooked so everybody took a crab home for dinner.’124
In the novels, after receiving his licence to kill, James Bond rarely kills in cold blood and reveals he does not like doing so. Young wanted to show Bond’s ruthlessness and a scene was written especially for the film: the killing of Professor Dent. Dent empties his gun into a figure he thinks is Bond sleeping. However, Bond has rigged his bed with strategically placed pillows. Knowing Dent has run out of bullets, Bond quips, ‘That’s a Smith and Wesson and you’ve had your six’ and shoots him at point blank range, even shooting Dent in the back after he has fallen. It is powerful moment and paved the way for other screen heroes to be similarly ruthless. Johanna Harwood remembered, ‘There was an awful lot of talk about it for and against. And they shot it both ways in case the censorship objected. I thought it was a mistake. I argued very, very firmly he shouldn’t do it. I thought he’s going to lose audiences’ sympathy.’125
The finale in Dr. No’s nuclear reactor was filmed on Pinewood’s A Stage towards the end of March 1962.126 Ken Adam had obtained real technology from IBM following his own inspection of the atomic facility at Harwell.127 By this time Adam had blown his design budget and he had to dip into the contingency fund to finish the eerie spider room set, which is the audience’s first encounter with the strange world of Dr. No. Cubby joked with Adam that he should keep a low profile as Film Finances, the completion bond company, were inspecting the set that day.128
Principal photography officially wrapped on 26 April 1962.129 The film was over budget and over schedule. The production was actually taken over by Film Finances, who would then oversee post-production duties.130 Despite the cost overrun, what people saw was, in the words of Stanley Sopel, ‘a $5 million movie, which we had made for $1.2 [million]’.131
Sound Designer Norman Wanstall was to become another key player on the Bond team. He had worked his way up the ranks on Sink the Bismarck (directed by Lewis Gilbert), alongside Dr. No editor Peter Hunt. Using quick cutting, sacrificing realism for pacing and style, combined with Wanstall’s exaggerated sound effects, the team came up with a new visual language for films.132 Norman Wanstall remembered:
Peter looked at the sort of material we were getting and said, ‘I think we’d better make this move so fast, people won’t have time to analyse it. Let’s make it go with a bang, just before people start to analyse whether it’s silly or not. Let’s move it along and make it exciting and special and macho’ – that was a very big decision. I’m sure that if another editor had cut those early Bonds they wouldn’t have had the same impact.133
Harry Saltzman later opined this was the result of the film not being made by British film-makers, ‘The tempo wouldn’t have been there. We’ve put into the picture a North American tempo’.134
Dr. No opens with what would become the classic Bond introduction. A series of white dots appear on a black screen which are then revealed to be the inside of a gunbarrel. Bond appears and is tracked by the gun. Suddenly, Bond turns and fires and a wash of red blood covers the screen – Bond has shot his would-be assassin. The evocative sequence was designed by the graphic artist Maurice Binder.135 Binder dreamed up the gun barrel sequence in less than fifteen minutes:
I had a meeting with the producers at eleven o’clock, so at nine o’clock I had to do a storyboard for Dr. No. I didn’t quite know what I was going to do but I did like the idea of gunshots across the screen so I felt if we have gunshots, maybe we could have a gun barrel. I had price tags, those little sticky things and I stuck them down fast – bang, bang, bang – and I drew a circle for the gun. They said it was fine, ‘Do it.’136
Binder relied on a team he had worked with before. Trevor Bond recalled, ‘Maurice Binder came into my life with a storyboard for The Road to Hong Kong, the last “Road” film with Bing Crosby and Bob Hope.’137
Shooting the gun barrel proved problematic, as Trevor recalled:
It was a Colt .45 – a British service revolver, short-barrelled. We couldn’t focus down to get the rifle in. The actual lens just couldn’t cope with it. I had an idea – I had been a photographer in the Air Force when I did my National Service – and I had heard about pinhole cameras. So we got a piece of black paper and stuck a pin through it and cog the iris to shut right down and we got a perfect picture of the gun barrel. We had to have a policeman standing by – a British bobby because of the gun laws in England.138
The electronic sounds heard as the white dots glide across the screen were somewhat revolutionary at the time. Maurice Binder recalled, ‘The film itself had Dr. No working with computers to topple the rocket. I thought we should have computer sounds on the titles. I looked for where I could get the sound effects and they said there was this little old lady in Surrey who had been doing experiments with electronic sound. She sent me a couple of selections, I then wanted to use a big bang to follow the shot.’139
Binder also used the bebop section of the ‘James Bond Theme’ with the bold brass movement, eschewing the guitar opening. Monty Norman was not happy initially, ‘I had a small row with Binder actually. I wanted the theme to be done exactly as is – from beginning to end – as so many themes are done that way. But he started moving it. I said, “You’re ruining it, you’re absolutely ruining it.” I sent him a couple of letters and I protested to Harry and Cubby about it. But, you know, they were right.’140
Binder revealed who the first image of Bond was, ‘The little man you see on the first film is Bob Simmons, the stuntman who doubles for Sean Connery. At that point, nobody knew Sean Connery and nobody knew Bob Simmons, so what difference did it make?’141
Trevor Bond explained the rationale behind the first James Bond title sequence, which became an innovative artistic triumph of the series, ‘It started with the idea of early computers – lots of lights and blobs – and these dots going bleep, bleep, bleep which turned into the gun barrel. I wanted to use native dancers as a visual accompaniment without losing the formularised graphic feeling that had been established. I got the three blind beggars walking on a tread board – [and] did it all against a white background.’142
The titles were accompanied by the aforementioned ‘James Bond Theme’, which must now be the most famous theme in the world. Norman recalled the theme’s roots lay in a piece of music titled ‘Bad Sign, Good Sign’, taken from an abandoned musical he had written in 1959.143 The musical had been set in the Indian community in Trinidad and was based on:
A House for Mr. Biswas, the V.S. Nipaul book. There was one number in there that I thought was very good. It had a very Asian quality and if the show had ever gone it would have been sung by somebody accompanied by a sitar. I thought, ‘I wonder what would happen if I split the notes?’ It was quite remarkable. I was at home [sitting by a piano]. I thought, ‘This has to be the beginning of the theme.’ I’m not an orchestrator and a few people had suggested John Barry because he was getting a few hit band songs. So I got John Barry to do it.144
Norman said, ‘I worked with Barry on what I wanted: a rhythmic sustained sound for the opening four bar figure; low octave guitar for my main melodic theme; big band for the hard riding middle section, etc. John did a wonderful, definitive orchestration of the Bond theme.’145
If ever there was a case to exemplify the old showbusiness adage that ‘where there’s a hit, there’s a writ’, the composition of the ‘James Bond Theme’ was it. In what had been the source of decades of litigation, John Barry alluded to the fact that he composed the theme from scratch with his band, the John Barry Seven.146 Claiming to have been brought in by United Artists’ London music chief Noel Rogers, the theme was said to have its roots in Barry’s composition ‘Bees Knees’.147 Vic Flick’s distinctive guitar sound graces both tunes, but Norman retained the credit and copyright to the track. In 2001, during a five-day trial, with evidence from all the parties and musicologists, a jury found that Monty Norman had, indeed, composed the ‘James Bond Theme’.148 During the proceedings it was revealed that the track had earned Norman approximately £485,000 from 1976 to 1999.149 John Barry received a mere £250 fee back in 1962.150
As had been the case with the Warwick films, music played an important part in the continuing Bond series. A potential source of huge revenue, United Artists took care to retain all copyright, licensing and synchronisation rights to the music in the films. Danjaq also shared in the revenues and retained a free hand in choosing composers and artists.151
Danjaq were restricted by Fleming in a very limited deal regarding licensing. One area Fleming prohibited from being exploited in connection with Bond was toiletries, including soap and deodorants.152 The producers did seek tie-in deals with a range of companies from purveyors of cigarettes and alcohol to Gossard bikinis, Hathaway shirts and Triumph cars.153 In keeping with the Fleming device of inserting real brand names in his books, the James Bond films were alive to the publicity benefits of product marketing from the outset.
An enduring marketing element would be the ‘007’ logo used to advertise the film. David Chasman, a creative director at United Artists, gave the job of designing it to a friend, Joseph Caroff, who remembered, ‘I wrote “007” and realised the “7” could be the handle of a gun. It just happened. I gave it a little styling and made it look bold. While I only got $300 for the job, it has brought me a great deal of business.’154
Maurice Binder was behind the film’s unusual trailer campaign. Sean Connery recorded a voiceover, wittily counterpointing the onscreen action, ‘I thought it was polite to knock before shooting’. Binder recalled that the first trailer was not well received by United Artists in New York who thought the irony of the commentary was outrageous.
Early omens for the film were not good as Harry Saltzman remembered, ‘When we had a print ready, there were about eight people from United Artists, including Arthur Krim, who came to see it. We started the picture at 10 a.m. and when it was over a few minutes before 12 noon, the lights came up and nobody said anything except a man who was head of the European operation for United Artists. He said, “The only good thing about the picture is that we can only lose $840,000.” Then they all stood up, and Cubby and I were just shattered.’155
Dr. No was first screened at Terence Young’s club, the Traveller’s, in July 1962.156 Another preview took place in Wimbledon a few months later. Then, on 5 October 1962, the London Pavilion paid host to the worldwide première. The first tangible indications of the scale of success were felt at the première, as Monty Norman recalled, ‘Within no time at all, you could feel the buzz in the place especially the moment he says, “Bond, James Bond” and the music comes in behind him. That was an amazing moment.’157 Harwood met Fleming for the first time at the after-party, ‘He was very urbane and I remember him saying, “There is some very good caviar on the buffet.”’158 Ian Fleming diplomatically said upon seeing the film ‘those who have read the book are likely to be disappointed but those who haven’t will find it a wonderful movie. Audiences laugh in all the right places.’159 Saltzman remembered, however, ‘Fleming didn’t like Sean Connery because he spoke with a Scottish accent. Fleming saw James Bond as himself, high-born, very educated, very English, posh public school accent.’160
The film played well in the UK but only got the large Odeon Leicester Square cinema due to the Rank chain needing to make good on their British picture quota policy.161 Saltzman believed that was why ‘Dr. No got a major commercial shot’.162 It proved fortuitous for Rank to Saltzman’s satisfaction, ‘We broke every record known. We made £69,000 the first week, and we held the record for eleven years. We played twenty-four hours a day at £1 per ticket. They never saw such business, and the most surprised was United Artists. To them, it was a B picture. They hated it.’163
Broccoli was confident, ‘We knew we had a good little film and knew it was going to make money – but there was more. This semi-sadistic, unscrupulous man of the law and womaniser fascinated people. Women loved him, men wanted to be like him – the impeccable manners, the flare, the sex appeal.’164
Despite the UK success, the US release in May 1963 was badly handled. Broccoli recalled the distributors were ‘anxious to get their money back so they schlocked the film out, playing it in drive-ins. Dr. No never opened in New York, Chicago or any key city. It opened from the inside.’165
Sean Connery became an instant star and preparations were already underway to film the next Ian Fleming thriller. When he first took on the role, Connery was concerned about signing up to a series, ‘I wasn’t sure I wanted to get involved in that and the contract that would go with it. Contracts choke you, and I wanted to be free.’166 However, Sean Connery and James Bond were about to become indistinguishable.
1 David Picker: Authors’ interview, 24.02.2014
2 David Picker: Authors’ interview, 22.02.2014
3 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 255
4 Hollywood UK: British Cinema in the Sixties – A Very British Picture, BBC 2, 19.09.1993
5 Johanna Harwood: Authors’ interview, 22.08.2012
6 Johanna Harwood: Authors’ interview, 22.08.2012
7 Alexander Walker, Hollywood, England, 1974, Harrap Ltd, 1974, p. 183
8 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree 1998, p. 158
9 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
10 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
11 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 258
12 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
13 Daily Variety, 18.11.1963
14 Johanna Harwood: Authors’ interview, 22.08.2012
15 Johanna Harwood: Authors’ interview, 22.08.2012
16 Johanna Harwood: Authors’ interview, 22.08.2012
17 Charles Drazin, A Bond for a Bond, Film Finances Ltd, 2011, p. 38
18 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 258
19 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 255
20 David Picker: Authors’ interview, 22.02.2014
21 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 258
22 David Picker: Authors’ interview, 22.02.2014
23 Guy Hamilton: Authors’ interview, 01.08.2013
24 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 258
25 David Picker: Authors’ interview, 22.02.2014
26 ‘Q&A with Terence Young’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
27 ‘Q&A with Terence Young’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
28 Johanna Harwood: Authors’ interview, 22.08.2012
29 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree 1998, pp. 162–163
30 Johanna Harwood: Authors’ interview, 22.08.2012
31 Johanna Harwood: Authors’ interview, 22.08.2012
32 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 255
33 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 164
34 David Niven, The Moon’s a Balloon, Coronet Books/Hodder Paperbacks Ltd, 1971, p. 214
35 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree 1998, p. 165
36 Charles Helfenstein, The Making of On Her Majesty’s Secret Service, Spies, 2009, p. 22
37 Martin Sterling and Gary Morecambe, Martinis, Girls and Guns: 50 Years of 007, Robson Books Ltd, 2002, p. 317
38 Alexander Walker, Hollywood, England, Harrap Ltd, 1974, p. 185
39 Roger Moore: Authors’ interview, 26.04.215
40 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 165
41 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 9
42 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 169
43 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 165
44 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 165
45 Cubby and Dana Broccoli interviewed by Paul Ryan, Los Angeles cable TV, 1979
46 Alexander Walker, Hollywood, England, Michael Joseph Ltd, 1974, p. 181
47 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 183
48 Sheldon Lane, For Bond Lovers Only, Panther Books Ltd, 1965, p. 161
49 ‘Bottled in Bond: Sean Connery’ by Pete Hamill, The Saturday Evening Post, 6.6.1964
50 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
51 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
52 ‘Bottled in Bond: Sean Connery’ by Pete Hamill, The Saturday Evening Post, 6.6.1964
53 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
54 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
55 Alexander Walker, Hollywood, England, Michael Joseph Ltd, 1974, p. 184
56 Interview with Stanley Sopel by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
57 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 170
58 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, Photoplate
59 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 258
60 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 9
61 ‘‘The Playboy Interview: Sean Connery’’ by David Lewin, Playboy, November 1965
62 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 209
63 Sheldon Lane, For Bond Lovers Only, Panther Books Ltd, 1965 p. 30
64 Peter Haining, James Bond: A Celebration, W.H. Allen/Planet, 1987, p. 140
65 Sheldon Lane, For Bond Lovers Only, Panther Books Ltd, 1965 p. 30
66 Sheldon Lane, For Bond Lovers Only, Panther Books Ltd, 1965 p. 30
67 ‘‘The Playboy Interview: Sean Connery’’ by David Lewin, Playboy, November 1965
68 Martine Beswick: Authors’ interview, 06.04.2015
69 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 38
70 Alexander Walker, Hollywood, England, 1974, Harrap Ltd, 1974, p. 188
71 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 173
72 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 173
73 Ursula Andress: Authors’ interview, 14.09.2012
74 Ursula Andress: Authors’ interview, 14.09.2012
75 Bond Girls Are Forever event at Pinewood Studios by Bondstars.com, 02.07.2006
76 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 38
77 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 39
78 Peter Haining, James Bond: A Celebration, W.H. Allen/Planet, 1987, pp. 193–96
79 Lee Pfeiffer and Phil Lisa, The Incredible World of 007, Boxtree, 1995, pp. 207–08
80 Peter Haining, James Bond: A Celebration, W.H. Allen/Planet, 1987, pp. 193–96
81 The Lois Maxwell Interview by Mark Greenberg, Bondage #12, 1983
82 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 20
83 Steven Jay Rubin, The Complete James Bond Movie Encyclopaedia, Contemporary Books, Newly Revised Edition, 2002, p. 457
84 John Cork and Bruce Scivally, The James Bond Legacy, Boxtree an imprint of Pan MacMillan Ltd, 2002, p. 46
85 Johanna Harwood: Authors’ interview, August 2012
86 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 207
87 Monty Norman: Authors’ interview, 03.08.2012
88 Monty Norman: Authors’ interview, 03.08.2012
89 Christopher Frayling, Ken Adam: The Art of Production Design, Faber and Faber Ltd, 2005, p. 96
90 Christopher Frayling, ‘Ken Adam and Dr. No’, Cinema Retro Movie Classics Special #4, 2012
91 Christopher Frayling, Ken Adam: The Art of Production Design, Faber and Faber Ltd, 2005, p. 95
92 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 54
94 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 18
95 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 48
96 Bob Simmons with Kenneth Passingham, Nobody Does It Better, Javelin Books, 1987, p. 39
97 Bob Simmons with Kenneth Passingham, Nobody Does It Better, Javelin Books, 1987, p. 39
98 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 46–47
99 Ursula Andress: Authors’ interview, 14.09.2012
100 Ursula Andress: Authors’ interview, 14.09.2012
101 Monty Norman: Authors’ interview, 03.08.2012
102 Ursula Andress: Authors’ interview, 14.09.2012
103 Monty Norman: Authors’ interview, 03.08.2012
104 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 18
105 Ursula Andress: Authors’ interview, 14.09.2012
106 Ursula Andress: Authors’ interview, 14.09.2012
107 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 48
108 Lot 291, Sale 9017, Christie’s Auction House, South Kensington, London, 14.02.2001
109 Ursula Andress: Authors’ interview, 14.09.2012
110 Monty Norman: Authors’ interview, 03.08.2012
111 Monty Norman: Authors’ interview, 03.08.2012
112 Monty Norman: Authors’ interview, 03.08.2012
113 Monty Norman: Authors’ interview, 03.08.2012
114 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 56
115 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 56
116 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 56
117 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 48
118 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 48
119 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, pp. 20–21
120 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, pp. 20–21
121 Bond Girls Are Forever event at Pinewood Studios by Bondstars.com, 02.07.2006
122 Bond Girls Are Forever event at Pinewood Studios by Bondstars.com, 02.07.2006
123 Bob Simmons with Kenneth Passingham, Nobody Does It Better, Javelin Books, 1987, p. 39
124 Ursula Andress: Authors’ interview, 14.09.2012
125 Johanna Harwood: Authors’ interview, 22.08.2012
126 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 21
127 Christopher Frayling, ‘Ken Adam and Dr. No’, Cinema Retro Movie Classics Special #4, 2012
128 Ken Adam interviewed by Christopher Frayling, 1999 British Design and Art Direction President’s Lectures, Logan Hall, London, 02.12.1999
129 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 78
130 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 78
131 Charles Drazin, A Bond For Bond, Film Finances Ltd, 2011, p. 83
132 Lee Pfeiffer and Philip Lisa, The Incredible World of 007, Boxtree, 1992, p. 204
133 Norman Wanstall: Authors’ interview, 11.2000
134 ‘Licensed to Make a Killing’, Telescope, Canadian Broadcasting Company, 09.12.1965
135 Maurice Binder at the Museum of Modern Art by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
136 Maurice Binder at the Museum of Modern Art by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
137 Trevor Bond: Authors’ interview, 30.07.2012
138 Trevor Bond: Authors’ interview, 30.07.2012
139 Lee Pfeiffer and Philip Lisa, The Incredible World of 007, Boxtree, 1992, p. 201
140 Monty Norman: Authors’ interview, 03.08.2012
141 Maurice Binder at the Museum of Modern Art by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
142 Trevor Bond: Authors’ interview, 30.07.2012
143 Monty Norman: Authors’ interview, 03.08.2012
144 Monty Norman: Authors’ interview, 03.08.2012
145 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 141
146 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 141
147 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 141
148 Monty Norman vs. The Sunday Times, Royal Courts of Justice, The John Barry Resource, www.jollinger.com, March 2001,
149 Monty Norman vs. The Sunday Times, Royal Courts of Justice, The John Barry Resource, www.jollinger.com, March 2001,
150 Monty Norman vs. The Sunday Times, Royal Courts of Justice, The John Barry Resource, www.jollinger.com, March 2001,
151 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 138
152 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 138
153 ‘Creating a Bond Market’ by Jeff Smith, The James Bond Phenomenon: A Critical Reader edited by Christopher Lindner, Manchester University Press, 2nd Edition, 2009, p. 139
154 Lee Pfeiffer and Mark Cerulli, ‘Joseph Caroff: The Man Who Created the 007 Logo’, Cinema Retro Movie Classics Special #4, 2012
155 ‘Harry Saltzman Recalls Early Coolness to Bond Features’ by Todd McCarthy, Daily Variety, 13.05.1987
156 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 18
157 Monty Norman: Authors’ interview, 03.08.2012
158 Johanna Harwood: Authors’ interview, 22.08.2012
159 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 18
160 ‘Harry Saltzman Recalls Early Coolness to Bond Features’ by Todd McCarthy, Daily Variety, 13.05.1987
161 ‘Harry Saltzman Recalls Early Coolness to Bond Features’ by Todd McCarthy, Daily Variety, 13.05.1987
162 ‘Harry Saltzman Recalls Early Coolness to Bond Features’ by Todd McCarthy, Daily Variety, 13.05.1987
163 ‘Harry Saltzman Recalls Early Coolness to Bond Features’ by Todd McCarthy, Daily Variety, 13.05.1987
164 ‘The Man Who Makes 007 Run’ by Lee Grant, Los Angeles Times, 13.05.1987
165 ‘The Man Who Makes 007 Run’ by Lee Grant, Los Angeles Times, 13.05.1987
166 ‘‘The Playboy Interview: Sean Connery’’ by David Lewin, Playboy, November 1965