United Artists went through a period of uncertainty after the financial disaster Michael Cimino’s Heaven’s Gate had wrought upon the company.1 Andreas Albeck suddenly took ‘early retirement’2 as President on 18 February 1981.3 He was replaced by Norbert T. Auerbach,4 who had served as Warwick’s general representative in Europe,5 and Auerbach’s shared history with Broccoli might have been of comfort to Transamerica Corporation’s most reliable producer. Announcing a $25 million budget for the next Bond film, Auerbach stated, ‘We have no problem accommodating that kind of budget. It’s always a risk, but it’s a risk we’re willing to take. [Broccoli is] an extremely responsible producer who loves to bring them in at fifteen or twenty or twelve or whatever, because he knows the less the picture costs, the more money he and we will make.’6 The report went on to state that the thirteenth Bond film was ‘slated for an early 1982 start and a Christmas release the same year – an update from a previous 1983 projection.’7 The studio’s eagerness to announce that they were bringing the thirteenth Bond film forward was explained less than one month later.
Transamerica sold United Artists to Metro-Goldwyn-Mayer (MGM) for a reported $380 million,8 $100 million more than Wall Street had valued the company at.9 Another Bond picture on UA’s upcoming slate could only raise the company’s value and make them a more attractive purchase.10 MGM was owned by Kirk Kerkorian, a wealthy Vegas-based billionaire whose chief attorney, Greg Bautzer, was an old family friend of Cubby Broccoli.11
By the time Octopussy was released, United Artists went through yet another change in management, with Frank Rothman, Joseph Fischer and the notorious cheque fraudster, David Begelman.12 Rebranded MGM/UA the two companies would share resources, but UA would still operate independently and separately as a production entity.
Metro-Goldwyn-Mayer’s symbol of Leo the Lion would now roar with its part ownership of Bond. Broccoli mused, ‘We continue to make the films unencumbered with United Artists. They don’t interfere with our operation other than to ask us what we’re going to do and who’s going to be in it. But they have been very good with us and I’m sure MGM knows that. It’s an operation that has to be operated the way we do it. All we want them to do is provide the cash.’13 Veteran Hollywood studio executive Peter Bart, now at MGM/UA, mused that:
Cubby ran his ‘Bond business’ as though it were a family farm. He had no intention of changing his modus operandi now for some newcomer. Indeed when the MGM/UA team blithely suggested its intentions of having more input on the next Bond film, the proposal was quickly stonewalled. If MGM/UA wanted another Bond picture, Broccoli declared, the studio would have to play by the customary rules. This meant advancing as much as $6 million before studio executives caught even a glimpse of an outline – forget about seeing a script. That was the way it had been done in the past, and that was the way it would continue.14
Prior to production commencing on Octopussy, Albert R. Broccoli. ‘Cubby’ Broccoli was informed that he would be the recipient of the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences. Sporadically given to producers for continued production excellence, Cubby was thrilled to accept the award at the fifty-fourth Academy Awards on 29 March 1982 at the Dorothy Chandler Pavilion in Los Angeles. Cubby paid tribute to his team on receiving the award:
I never dreamed when I came to Hollywood in 1934 that I would be standing here to receive an award from a man who was the idol of all of us. This is a great moment in my life and I feel a great sense of accomplishment not only for myself but all my colleagues with whom I’ve worked over the years, the actors, the writers, the directors and those exceptionally devoted and dedicated technicians at Pinewood Studios in Great Britain and for my associates at United Artists.15
Cubby thanked his previous business partners Irving Allen and Harry Saltzman, as well as Arthur Krim. He finished his heartfelt speech by thanking the Academy ‘for allowing a farm boy from Long Island to realise this dream.’16 At an early birthday party after the event, Cubby commented, ‘It was the greatest honour of my life.’17 Cubby Broccoli had come of age in the town that had once spurned him. The party at Chasen’s restaurant was attended by Broccoli’s family as well as names from the past including Mike Frankovitch, Cary Grant, John Gavin, David Hedison, Christopher Lee, as well as Hollywood royalty – Billy Wilder, Irving ‘Swifty’ Lazar and Jimmy Stewart.18 Also in attendance was Roger Moore, who had presented the Thalberg to Cubby on the night, and Sean Connery.19 Cubby was happy to have them there, ‘They are both very good friends of mine, and I’ve liked working with both of them.’20 For Broccoli, who had left Hollywood in 1952, to be embraced by the film community after nearly twenty-one years of phenomenal success it must have felt like vindication.
Roger Moore exploited the uncertainty regarding the studio situation. While publicising For Your Eyes Only he said, ‘There’s such a state of change within United Artists and Transamerica … nobody knows who’s going to make the final decision.’21 Incentivised by the threat of Sean Connery returning as 007 for a reported $5 million, Moore gambled this would not be the right time for a new Eon Bond.22 He rejected the $3 million Cubby had offered him,23 commenting, ‘It’s a stalemate.’24
US-based Casting Director Jane Jenkins was hired to come to the UK to cast for an American television pilot whose central character happened to look a lot like James Bond. In reality, they were trawling for a potential replacement for Roger Moore, testing for Bond-ish qualities, ‘Basically we had to see how the guy handled a girl, a gun and a martini and how he’d look in a tux.’25 The operation had to be kept secret with names being fed to them by UK Casting Chief Debbie McWilliams, who was too well known in Britain to be overtly part of the process. Cubby’s daughter, Barbara Broccoli, also participated but acted as Jenkins’s assistant when in reality she was the boss, making sure to conspicuously ask, ‘Can I get you another cup of tea, Miss Jenkins?’26
Lewis Collins, tough guy Bodie in television’s The Professionals, had portrayed the more sophisticated Peter Skellen in the recent SAS action thriller Who Dares Wins (1982). The film was produced by Euan Lloyd, Cubby’s former Warwick assistant, ‘When Barbara Broccoli saw my finished film she suggested her father should meet [Collins]. I understand Lewis made the fatal mistake of appearing in dress closer to Bodie than to Peter Skellen. Possibly it was overconfidence on Lewis’s part. I am sure he would have made an excellent Bond.’27
Oliver Tobias, a handsome, emerging British leading man, famous for the soft-core porn film The Stud (1978), in which he appeared opposite John Collins, entered the fray when it was reported Cubby Broccoli has asked if Tobias would be prepared to meet people connected with the production. ‘[Tobias’s agent], Al Mitchell said, “Oliver is being seriously considered for Bond.”’28 In early 1982, when this was put to Cubby, he responded, ‘No comment.’29 Yet again, Michael Billington claimed to have tested for the part when, ‘Roger was being “extra coy.”’30 Broccoli went back to considering an American actor and let slip, no doubt for Roger Moore’s benefit, that the latest actor being tested was James Brolin.31
The Man With the Golden Gun actress Maud Adams was asked to stand in for the James Brolin test, ‘Obviously they want to keep it secret. I was looking forward to seeing everybody again so I gladly went. James Brolin was very good, but it was unusual to hear an American accent playing James Bond.’32 Glen conducted a three-day test with the actor and felt, ‘Brolin did a great job, a very manly guy.’33
The game of brinkmanship continued with Cubby stating, ‘I hope Roger does it but if he decides not to, I will understand. These films are really hard work.’34 By June 1982 the producer explained, ‘Roger is asking more than I am prepared to pay. There comes a point where you just have to say no, even to a friend, and Roger is a friend. Roger can’t go on doing it. So perhaps this is a good time to launch a new actor.’35 Broccoli stated he was under no pressure from the studio to sign Moore, ‘they leave the choice entirely to me,’36 but the imminent threat of the return of Connery would probably have precipitated the return of Moore. Eventually, in mid-July 1982, a deal was reached. Moore commented, ‘The poker game is over. We both got tired of dealing so we decided to cut for it. I think we are both happy with the outcome.’37
Relations between Broccoli and Moore always healed quickly. Cubby’s secretary Janine King, remembered Roger Moore could often be found between Bond films at South Audley Street playing backgammon with Cubby. On one occasion Moore even answered the telephone and took a message, ‘I couldn’t help chuckling because whoever was on the other end of the phone would be so astounded if they knew it was Roger Moore they were leaving a message with. That was what was so lovely about Eon Productions.’38
Pleased with Director John Glen’s debut effort on For Your Eyes Only, Broccoli asked him to repeat duties on Octopussy. He explained, ‘I’ve agreed for several reasons: I’ve always loved the Bonds, they’ve always appealed to my rather childish side. I feel I’m very well equipped in terms of experience and knowing the character so well. I’m a great believer in the characterisation of Bond. I think the more of that we show in the future the better we’ll be. We’ll continue the trend away from push-button technology; get back to the real Bond.’39 Octopussy would be, Glen thought, ‘a start-from-scratch-situation,’40 although he added, ‘It’s important to incorporate Fleming’s work into the movie stories, isn’t it? Otherwise, you’re just using the title and nothing else.’41
OCTOPUSSY was first published in the UK on 23 June 1966. Initially featuring the title story and another, the Berlin-set story THE LIVING DAYLIGHTS. The paperback would also include the story featured in the November 1963 edition of auction house Sotheby’s publication, THE IVORY HAMMER, entitled THE PROPERTY OF A LADY.
The title story is the tale of the corruption of Major Dexter Smythe, a British Army officer who, towards the end of the war, steals hidden Nazi gold and kills Franz Oberhauser, his Austrian guide in the process. Relocating to Jamaica, Smythe slowly lives off his ill-gotten gains and reflects on his life of an empty marriage, increasing ill-health, laundering his gold, swimming in his own private reef and visiting Octopussy, his ‘pet’ cephalopod. Smythe plans an experiment to feed a poisonous scorpion fish to the octopus. Towards the end of the tale, James Bond appears with evidence of the wartime murder of Oberhauser. Bond implicitly leaves Dexter Smythe with the option of an honourable exit rather than facing a trial in England. Fate intervenes and Dexter Smythe meets his demise when poisoned by the scorpion fish he attempts to feed to Octopussy.
THE PROPERTY OF A LADY is a similarly sedentary tale in which Bond tracks MI6 double agent Maria Freudenstein. Freudenstein is to be paid, surreptitiously by the Soviets, from the proceeds of the sale of an objet d’art by Fabergé, through auction at Sotheby’s. Bond identifies the KGB agent sent to the auction to push the price up to the requisite payment amount. The agent subsequently faces diplomatic expulsion and Bond strikes a small blow against the Soviet intelligence apparat.
A completely new writer entered the Bond fold to pen the screenplay of the thirteenth official James Bond film: George MacDonald Fraser. The reactionary Scottish scribe, who might have been described as Flemingesque, had written films for Producer Alexander Salkind, including the Musketeers series and the initial draft of Superman. However, it was his series of historical Flashman novels that attracted Director John Glen, ‘He’s a great expert on India and that was going to be location for our movie so we thought he could bring his special humour.’42 Although Fraser felt that he might have been imposed upon Cubby by the notorious MGM executive, David Begelman to settle an outstanding legal matter.43
MacDonald Fraser’s early ideas included a pre-title sequence set during the Isle of Man’s TT motorcycle race with a ‘duel-to-the-death sidecar race between Bond and a heavy’ as well as ‘007 trapped in a cage with an angry gorilla.’44 John Aspinall, a wealthy gambling pal of Cubby’s, had a private wildlife sanctuary in his home which John Glen visited.45 Glen affirmed a scene involving Bond as a lion-tamer was not included because it could have been perceived as a slight against the logo of UA’s new parent company, MGM.46
Fraser delivered his final draft in April 1982. Production Designer Peter Lamont recalled, ‘The first draft was about 200 pages and everyone panicked. It was a long script, but when you read it, all the stage directions were there. It was almost a shooting script. He’d never been to Udaipur, but he’d done all his research and he knew India like the back of his hand.’47
Although the dialogue was completely rewritten, Fraser’s structure and key action sequences were streamlined. Notable elements that were dropped included a super-charged tuk-tuk supplied by Q with a bulletproof shield and other concealed weaponry. Bond was to drive a green Bentley which is destroyed during a fight with a gorilla. Kamal Kahn was altered from ‘a striking figure in his wine-coloured turban and forked beard,’ to the ‘westernised’ character played by Louis Jordan. Miss Moneypenny was absent, replaced by a Miss Smallbone, and Goldfinger was to make a cameo appearance outside the American airbase in Germany. Fraser attempted to provide a backstory as to how Octopussy had earned her name, October Debussy – she was born in October and her mother liked Debussy.
It was decided that the script needed a rewrite. Glen noted, ‘I was too close to [the script], I couldn’t be objective. What Cubby used do, he used to keep a little distance from the script so he could be objective. It obviously didn’t grab him.’48 Richard Maibaum returned to revise Fraser’s work along with Michael G. Wilson. Richard Maibaum saw events overtake the writing of the screenplay, ‘When we were writing the plot of Octopussy we had little idea that it would be virtually the truth. There is a big scandal in Moscow about the State Circus. [Soviet Premier] Brezhnev’s son-in-law was involved in the scandal. The State Circus was being used to smuggle jewellery into Russia. They were taking payment, presumably from the various places they performed, but they didn’t take money, they took jewellery.’49
Maibaum indicated that the down-to-earth approach adopted in For Your Eyes Only would continue, ‘We’re sticking with the format we’ve come back to using, more or less, From Russia With Love for style. We’re staying with that straight-down-the-line narrative. We are not cheating. We will not press a button and have a miracle happen. Bond has to do it for real and he might have to suffer.’50 Michael Wilson concurred, ‘The first three Bond films were certainly classics of the cinema. And I have no qualms about being compared to these pictures, I want to see Octopussy listed in that league.’51 Wilson went on, ‘Octopussy is a spectacle, it’s basically still a fantasy product, but more realistic.’52
While Glen strove to retain elements of Fleming in the films, Wilson acknowledged the difficulty of extracting entire plots from the latter short stories, ‘The basic material begins to wear thin. We stuck closely to the books in the beginning, but we were finally forced to inject whole new ideas in later movies.’53 Broccoli confirmed early on, ‘We’re making Octopussy the name of a girl in our film. She’s beautiful and powerful. A semi-villain, who gets redeemed at the end.’54 It seemed to be a natural move. When a National Research Group polled 600 women aged between twelve and forty-nine about the title, Octopussy, 37 per cent of them objected to it. However, when the same group were told it was a Bond movie, only 4 per cent objected.55 Mindful of the American Pussy Galore embarrassment in 1964, Broccoli trod carefully, ‘We don’t want a controversy but if they insist on making one, it’ll end up only helping the movie.’56
The eventual storyline featured the exiled Afghan Prince Kamal Khan, who has entered into partnership with Octopussy, the fabulously wealthy head of the resurrected Octopussy cult. Though her international business network, Octopussy has established a smuggling ring. Using her travelling circus, a form of entertainment welcomed on both ideological sides, Octopussy can travel from Eastern to Western Europe with ease. Khan has teamed up with radical Soviet General Orlov to smuggle out of the Kremlin repository, real Tsar-era jewellery. These are then replaced by expert fakes, manufactured by curator Lenkin, so nobody misses the actual gems. The smuggled jewels are sold at auction houses around the world, netting the enterprise huge profits. When 009 infiltrates the Octopussy organisation, he manages to retrieve a fake Fabergé Russian Coronation jewelled egg called, The Property of a Lady. However, 009 is mortally wounded by twin knife-throwing act, Mischka and Grischka, after managing to escape with the fake, his final act is to alert the British. Orlov and Khan are informed by Lenkin that an unscheduled inventory is to be done by the Soviet authorities and, in the absence of the fake, the original jewel needs to be urgently recovered. Kamal Khan attends Sotheby’s with his Sikh bodyguard, Gobinda and his beautiful companion, Magda. At the auction Bond bids against Khan, pushing up the price of The Property of a Lady – 007 knows Khan has to buy it back. While bidding, Bond switches the original with the fake.
Following Khan to Udaipur, India, Bond is assisted by section head, Sadruddin and his tennis-playing agent, Vijay. Using the real jewelled egg as collateral, Bond out-cheats Khan in a game of backgammon with loaded dice. To gain the original egg, Sikh warrior Gobinda violently pursues Bond in an Indian tuk-tuk taxi through a crowded bazaar, but Bond finds refuge at Q Branch’s makeshift workshop.
Bond tracks down Octopussy and confronts her on her female-island commune. She explains that Bond gave her father, Major Dexter Smythe, an honourable alternative by committing suicide rather than facing trial for stealing gold during the Korean War in the early fifties.
Bond discovers Khan is in league with Orlov and they are planning to engineer a nuclear accident at an American airbase in West Germany; the explosion will be interpreted as a self-inflicted nuclear accident – not a sign of aggression to be retaliated against. Europe will demand nuclear disarmament, which will leave the Western borders open to the vastly superior Soviet conventional forces. Khan in turn will have the sole proceeds of the cache of Tsarist jewellery. Khan will double-cross Octopussy and Magda, both of whom will perish in the nuclear accident. As Octopussy’s train speeds towards the American airbase, it innocently carries the nuclear device, Bond fights with Gobinda and Grischka on the train, avenging 009 by killing the twins. The Russian authorities gun Orlov down at the border. Forced to enter the circus dressed as a clown, 007 defuses the bomb with seconds to spare. Now, convinced of Khan’s treachery, Octopussy and Magda lead an attack on Khan’s palace. Khan and Gobinda kidnap Octopussy. With Khan piloting a Beechcraft propeller plane, they hope to escape. Bond clings on to the plane as it takes off. Gobinda and Bond duel outside the plane. Bond rescues Octopussy, and wounded from their fall, they are found recuperating on Octopussy’s barge.
Lots of casting suggestions accrued for the title role. Celebrity photographer Terry O’Neill lobbied for his wife, actress Faye Dunaway, ‘It suddenly came to me that Faye would be wonderful in this role. I put it to Cubby and he was very interested.’57 Cubby had sought the actress for Thunderball, ‘I wanted her then but we weren’t able to work it out.’58 Dunaway herself professed to be a fan, ‘I’d love to be able to do this film. I’ve always admired the expertise of the Bonds. I hope we can work things out.’59 Director Glen remembered other high-profile actresses were considered, including Sybil Danning and Kathleen Turner.60 However for a prominent female star, Broccoli did not wish to pay a Hollywood salary, because, he said, ‘The film itself is the star.’61 Michael Billington tested potential actresses Deborah Sheldon and Susan Penhaligon.62 Casting Director Jane Jenkins had originally looked to cast Indian actresses Persis Khambatta and Susie Coelho or those who could, in a sign of the times, ‘pass for Indian,’63 including Barbara Parkins.64 Grace Jones was considered but Glen recalled the production ‘couldn’t quite arrange it because she was performing on the road.’65 Glen also wistfully remembered talking to Cybill Shepherd.66
After an extensive search, a simple solution was achieved. Jane Jenkinson remembered Cubby saying, ‘You know, The Man With the Golden Gun was on television last night. Maud Adams was awfully good in that – let’s use her.’67 Adams, fresh from the James Brolin tests recalled her ‘curiosity was piqued when they took the time to change the way I looked. But when I got the part I was really surprised.’68 Adams admitted, ‘The title shocked me [but] once you’ve used the word a few times, it was part of who she was.’69
Cubby Broccoli suggested Louis Jourdan for the role of Afghan Prince Kamal Kahn.70 The French-born actor who had become a classic Hollywood heart-throb in the fifties was an old friend of Broccoli. Jourdan relished the role of Khan, ‘I think the key is to try to make villainy as attractive as possible since James Bond is perfection about what is good and what is right. I have tried to make my villain what is perfect about what is bad, evil and wrong, but always with humour. Humour is the key to the Bond pictures.’71 When questioned why Khan had a French accent, Broccoli reasoned, ‘He could always have gone to school in France.’72
Kabir Bedi, up for the part of Gobinda, felt his casting was an attempt by ‘the Bond people to internationlise the franchise even more. The producers of the Bond films don’t have to sell their roles too hard because any actor in the business considers it a great privilege to be part of a Bond a film. You know you will get known by a totally different audience.’73 George MacDonald Fraser recommended Bedi to the production based on their previous work on Ashanti (1979).74 Bedi felt, ‘I just had to play on the real silent menace of the character. I did suggest to Michael Wilson, “Give Gobinda certain supernatural powers, Eastern magic, so Bond has to battle a totally different kind of villain.” He could have been able to levitate, sorcery, do charms, spells, have all things that could have confounded Bond. They said, “No, no we prefer to keep things realistic,” which I found ironic.’75 Bedi explained Gobinda’s heritage, ‘I am a Sikh by origin. I can tie a turban. It’s like learning to play the violin; it takes years of practice. [Gobinda’s turban was] beautifully layered as the professional turban tiers tie it.’76
Like other Bond girls, Kristina Wayborn had been on the producers’ radar prior to production, ‘I actually was contacted by the Broccolis for one of the films prior to Octopussy. At the time, I was to play Greta Garbo so we kind of let [it] go. [When] I met with them at MGM, they just offered me the role right there.’77 Of her character, Wayborn felt, ‘It was never really discussed how the character was going to be played. I was athletic and I had a little mystery, that comes across. You really don’t know where Magda stands, what she’s up to, who she’s allied with.’78 She remembered shooting an energetic love scene, ‘John said to me, “I want you to absolutely attack Roger, just devour him.” I said, “No problem, that’s easy, Roger is a gorgeous man.”’79 Her take, together with Bond’s quip, ‘What I do for England’ made it into a teaser trailer, but it was deleted from the final film.
After briefly appearing in The Spy Who Loved Me, Albert Moses returned to the series to play Sadruddin. However, a problem arose when the role was split into two parts, to allow a non-unionised actor, Indian tennis star Vijay Amritraj, to appear in the film. The producers had to placate actors’ union, Equity, to prevent production problems.80 Amritraj remembered the Broccolis were big tennis fans and he met them often at Wimbledon.81 On one such occasion, Broccoli told Amritraj, ‘“We’ve tried a lot of actors for this role we’d love for you to consider doing the screentest.” James Brolin [did] the screentest with me at Pinewood.’82 Amritraj’s tennis ability was the reason cited as to why a union actor could not perform the role.83 Tennis was woven into the part and later into his costume, ‘In the backgammon scene, I wore a cravat in the colours of the International Club. I did have tennis racquets on my jacket buttons.’84 The film opened in London two weeks before the Wimbledon tennis championships and a handful of tennis stars attended the première. Amritraj recalled that the Wimbledon qualifying rounds had commenced, so ‘When I died in the film, one of the players jumped up in the middle of the theatre and screamed “I’m in, I’m in!”’.85
David Meyer, who together with his twin brother, Tony, played Mischka and Grischka respectively, recalled the producers ‘saw some French acrobatic, nightclub entertainers in Paris. They found their way into the script.’86 Meyer remembered the French act ‘didn’t fancy being killed in the film so we got a call.’87
Rounding off the cast was eccentric theatre actor Steven Berkoff, who played General Orlov. Although he enjoyed the role he felt, ‘John Glen curbed some of my excesses.’88 Robert Brown was cast as Bernard Lee’s replacement as M.89 Brown had previously appeared in The Spy Who Loved Me as Admiral Hargreaves, ‘Roger and I go back a long time; we made the Ivanhoe series together, and we’ve been friends ever since. I’m godfather to his eldest. He suggested to Cubby that I may be a replacement.’90 Brown described his initial meeting with Eon as similar to his entry as a young man into the military, ‘You just sat there and you were grilled. It was quite something, but I was fortunate, because that afternoon they said, “Okay.”’91 Richard Maibaum noted, ‘We looked for someone with the same background as Bernard Lee.’92
After proving their worth on For Your Eyes Only, Glen retained his key crew. Peter Lamont returned to design the film and Alan Hume returned as director of photography. Hume felt, ‘Glen was much more comfortable. We had longer prep time on this one which obviously helped alleviate some of the pressure.’93 John Glen also assembled his signature team of action specialists: Rémy Julienne for vehicular stunts, and B.J. Worth and Rande DeLuca for aerial sequences, and veteran Stunt Arranger Bob Simmons. Bob Simmons had worked for Broccoli for nearly four decades and outlined his process:
First, the script is presented to me. I start by broadening out the visual ideas as Cubby and Michael allow me to elaborate. I’ve never had any opposition from them on anything I do. Everything can be worked out, if you give it plenty of thought. Nothing is left to guesswork. Simple stunts are often the most difficult, and yet you have your own set of rules. Cubby says, ‘Look, I can’t replace you if I lose you. But I can always get another stuntman.’94
Glen was forced to make one change, ‘Derek Meddings more or less gave us an ultimatum. Either I have autonomy over my budget [or I do another picture]. Tom Pevsner is a very, very good producer and one of his jobs is to make people be disciplined. Derek did resent that. You sometimes reach a stage with someone in their career where they outgrow the job.’95 John Richardson was brought in to head special effects.
In May 1982 second unit and aerial work began on the pre-credit sequence, traditionally ahead of principal photography. The stand-alone sequence, unconnected to the plot, finds Bond in an unnamed ‘banana republic’. Arriving in a Land Rover towing a horsebox, Bond is seemingly attending a polo gymkhana set in a military airbase. However, 007 is there to effect his mission to sabotage a spy plane. Just as Bond places a magnetised limpet charge hidden in a briefcase in the nose of the aircraft, he is discovered and the charge is removed. In the film-makers continued attempt to ground Bond, Wilson explained, ‘I feel that any gadget which is used should have a general utility. Sometimes, it’s nice to write in one that doesn’t work, so Bond must use his wits and his physical courage to get out of trouble.’96 Bond is captured, but engineers an escape whereupon we discover that the horsebox does in fact contain a mini Acrostar jet. Bond takes to the skies and is forced to outwit a guided missile. Stunt pilot John William ‘Corkey’ Fornof conceived and executed the sequence, which had originally been planned for Moonraker.97
The Bond crew returned to Northolt Airbase, first used in Thunderball, and dressed the set with palm trees to give it an authentic South American look. Camera Operator Alec Mills recalled press reports incorrectly speculating that the trees were to make Argentinian prisoners of war from the recent Falklands conflict feel at home.98
Based in Hurricane Mesa in Utah, the sequence was handled by Philip Wrestler, a director John Glen had known since his editing days in the fifties.99 Cubby told Fornof, ‘These are the shots we need, now you put the magic in them.’100 Fornof pushed the action as hard as possible recalling one shot in particular, ‘From the camera it was a beautiful but we ran it for a test audience one night, and more than half got sick or were nauseous. People felt like they were being sucked into the scene, which I felt was fantastic but didn’t play too well.’101 The sequence culminated with Bond leading the missile through an aircraft hangar, narrowly manoeuvring the Acrostar through a gap the other side, while the missile blows the hangar containing the spy plane to smithereens. Fornof offered to fly through the hangar but remembered his producer’s wisdom, ‘Cubby told me, “Do you know why we hire you? We don’t hire you to take risks. We hire you because you are known to eliminate the risks.” They hire me to say no when there is no way and to get the shot when it’s needed.’102 Effects maestro John Richardson cleverly integrated foreground miniatures and put a model of the jet on a rotating arm mounted to a specially fitted out Jaguar. The plane was driven at high speed through the hangar, allowing people to run in the shot, while the jet turned on the rotating arm on the car.103 Richardson blew up a 5ft tall miniature of the hangar.104 After performing a victory roll, Bond realises he is out of fuel and must touch down immediately. The idea of landing on a public highway originated from a real-life experience when Fornof was forced to make an emergency landing on a busy North Carolina freeway, miraculously coming to a halt in a gas station.105 In Octopussy, Bond has just enough fuel to reach the United States, landing in a small town where he requests an astonished pump attendant to ‘Fill her up, please’.
While in Utah, Wrestler also worked with Jake Lombard and B.J. Worth to film the aerial combat between Bond and Gobinda. Wrestler edited ‘all the stuff I shot and then shipped it back to England,’106 but was disappointed by feedback that said the Beechcraft fight looked too easy.107 Editor John Grover remembered, ‘the material [Wrestler] supplied was terrific.’108 Wrestler recalled, ‘They asked me for a shot of the twin-engine plane doing a loop the loop [but I would] need to be 20 miles away to shoot it.’109 A model of the plane, loaded with explosives, was to be launched by a rig used for testing ejector seats in the area to capture Khan’s death.110 However, the model drifted out of range of the cameras, dangerously passing over a crowded freeway, before crashing unseen.111 Bond and Octopussy were to have tumbled out of the plane. Wrestler storyboarded an elaborate white water rapid sequence that was to follow,112 but Glen felt the sequence was ‘surplus to requirements’.113
On 10 August 1982 principal photography commenced at Check Point Charlie.114 In the middle of September 1982 the crew arrived in Udaipur, India. United Artists had chosen the setting partly because they could release their frozen funds in the country, which they had previously attempted to do on Moonraker.115 The unit shot in the exotic Lake Palace Hotel, set in Lake Pichola. As guests of the local Maharajah, the cast and crew were treated like royalty. Peter Lamont cannabilised two abandoned boats he discovered on the banks of the lake to create Octopussy’s ceremonial barge.116
Glen recalled that Louis Jourdan found the notoriously laidback atmosphere of the Bond set ‘difficult to accept’.117 Kristina Wayborn was sensitive to the actor, ‘Louis and his wife they had suffered the loss of their son within the year of the film.’118 Bedi observed, ‘Louis was very nice, very civil but a very private person. Reserved. I think he opened up more with Roger than anyone else on the set because I think they were friends from before.’119 Steven Berkoff had his own perspective, ‘Louis Jourdan was charming and taught us little word games to play while we were waiting around, like identifying movies through a series of codes in your chat. When we all played these games I knew I had arrived.’120
Having worked with both Guy Hamilton and John Glen, Maud Adams described their individual approaches, ‘John Glen was more approachable than Guy Hamilton. He was more involved with the actresses.’121 She remembered her Swedish co-stars differed too, ‘Kristina and I, we got along fine, she was rather a recluse [very different from Britt and I]. Kristina was very much to herself, very focussed, almost distant. Today, we’re good friends.’122 Shooting in Udaipur was intense as Adams recalled, ‘When they announced they needed extras for a scene we almost created a riot because so many people showed up and they couldn’t take everybody. It was a big problem for the production company.’123
Crowds plagued the taxi chase sequence and were amazed at the vehicles taking part. Rémy Julienne had had to soup up the rickety conveyances, ‘The tuk-tuks had Honda 250 cross motorcycle chassis with adapted suspension. For every stunt we had a specialised one, at least five or six,’124 and they were capable of going 70mph.125 Vijay Amritraj remembered shooting the action sequence, ‘It’s hotter than hell. It’s one thing to be in a studio with a blue screen behind you, but this was real. And through the heat of Udaipur there is Roger Moore with his tuxedo on looking completely cool and collected and without a drop of sweat.’126
Roger Moore once again set out the challenges of being Bond, ‘These films are hard work. You should have seen me charging through the jungle in India pursued by a horde of villains on elephants, swinging on a vine across bottomless gorges and running into giant spider webs.’127 Harry Saltzman’s long-desired elephant sequence was eventually filmed, culminating in a cameo from Michael G. Wilson on a tourist boat which rescues Bond.
Vijay Amritraj observed Wilson, ‘Michael was very focussed on a Bond film and I think his ability to write, to be able to create, to be able to develop a character even more so. I think a lot of Michael’s thought process came out of Dana. Dana was very focussed. I think they had a lot of internal meetings where Dana’s input made a lot of difference to the creation of the script.’128 Amritraj elaborated further, ‘I think Barbara maybe had a little bit more of a global perspective of other films and what needed to be brought in. Barbara, I think, made all the difference to the team. That’s why I think they work very well together because they complement each other in so many different ways.’129
By October 1982 the production had moved to the Nene Valley Railway museum, a historical private rail network which doubled for the East and West Germany and where complex action in, around and on top of Octopussy’s train was filmed. When Moore was asked if he did his own stunts, he replied, ‘Of course I do! I also do my own lying.’130 David Meyer did dangerous work himself, ‘[When we’ve got three of you fighting on top of the train, we’ve got to show somebody’s face. Roger Moore’s not going to be up there or Kabir. Normally you might have got a stuntman doing that bit. I have to say it was one of the most exciting things I’ve ever done in my life.’131 Once again, despite the professionalism on a Bond set, unfortunately things did go wrong. Martin Grace, doubling for Roger Moore recalled, ‘Over many days I did shots climbing up, running on and emerging from the bottom of the travelling train. It was in fact like second nature to me.’132 Director of Photography Alan Hume remembered that while the stretch of the track had been checked, the train was not returned to its starting position, which meant they would be going into unknown territory ahead.133 This would have severe consequences as Martin Grace outlined, ‘The action required us to look through the train windows which meant I could not look ahead. I got hit on the pelvis by a solid wall built parallel with the railway track. The impact was so lightning fast that I only realised that I had hit something when I found I was hanging prone for dear life on the side of the train, my pelvis area numb at first like a gigantic tooth extraction injection.’134 Travelling at high speed, Grace suffered acute injuries from the unseen protrusion but managed to hold on to the train.135 He did recover after a lengthy period but the dangers of doubling 007 for real were apparent.136
In November 1982 the Bond team returned to Pinewood Studios causing Broccoli to reflect on twenty-one years of Bond, ‘We started off there and they’re Bond addicted and dedicated film-makers. They know what we want and need.’137 Peter Lamont’s sets filled the stages there, ‘Once we had settled in Udaipur and the script was approved, I started researching the interior design for Octopussy’s boudoir, consulting reference books on the subject, depicting all of the luxurious architecture. Octopussy’s bed is made from polystyrene, covered with red ochre, which we rubbed down to give the impression of wood.’138 It was on this exotic set that Maud Adams accidentally injured Moore, ‘I did have a mishap with Roger at one point when I kicked him in the groin by accident when he twirls me around, the first time we kissed. It’s not something you do to James Bond!’139
Lamont also created a War Room set where Orlov sets out his radical plans to his fellow comrades, ‘It’s the Kremlin set. I modelled it after the Palace of Congress. We built a hammer and sickle design into the floor and an elliptical table on a moving floor. It was possible to swing it around to face a giant war map, listing all the Eastern bloc tank visions, illuminated via back projection.’140 The 007 Stage housed the Monsoon Palace, ‘The film demanded a courtyard and helipad. We managed to secure a Russian-built helicopter used for ferrying supplies to oil rigs in the North Sea.’141
Early on in the shoot, Kabir Bedi found Roger Moore to be ‘quite aloof, quite reserved, quite aristocratic. I didn’t get the feeling that he was terribly approachable. But actually in the course of filming, especially in Udaipur and later when we were shooting the sequences in Peterborough, we would go for long walks together, I got to know Roger much better. Found him to be an interesting, warm, and a very knowledgeable, intelligent person. A bit of a contrast to the image he seemed to portray in films.’142 Steven Berkoff thought Moore, ‘exceedingly pleasant to work with,’143 but remembered, ‘the day of our “big” scene, the poor man couldn’t remember his lines, although up till then he had been very strong on lines. Did I make him feel ill at ease? Eventually we shot it almost a sentence at a time.’144 If there was any awkwardness, Roger Moore would be the first to try to diffuse it. Maud Adam recalled, ‘Love scenes with Roger Moore always turned into a riot, it was hard to be serious.’145 Editor John Grover recalled Moore would ‘send an assistant director to buy hundreds of sweets’146 to help ease any tensions on the set.
It was on the Monsoon Palace set, just before Christmas, that Desmond Llewelyn had what he called his first action scene as Q in which he lands a hot-air balloon bringing Bond into the fray. Llewelyn recounted, ‘The studios were freezing: the girls were covered in goose pimples and Roger was fed up with shooting the same thing over and over again. The poor chap wanted to fly home to Switzerland for the holiday.’147 The actor was pleased, ‘It was practically the only time I ever met any Bond girls. They were great fun and I got to know them quite well as I did a promotional tour with them to Australia and America.’148 Llewelyn was appreciative of the role:
I take it as a compliment that many people, including some supposedly sophisticated press people, who’ve interviewed me, actually believe I’ve had a hand in inventing the devices that Bond uses in the films. I try not to disillusion the public and have always familiarised myself with the workings of all the equipment I supposedly create for Bond’s adventures in the field. But the truth is that I’m merely an actor and not particularly mechanical, at that. I sometimes have a dickens of a time trying to get some of the gadgets to work right for me.149
Appearing for his second film as Smithers was Jeremy Bulloch, more famous for inhabiting Star Wars’ Boba Fett. Llewelyn discounted the significance of the character, ‘Smithers was only really an extra. He was an awfully nice chap.’150
Lois Maxwell’s first inkling that her time behind the typewriter might be coming to an end was when she discovered Moneypenny was to be given a new assistant – Miss Penelope Smallbone – played by writer James Clavell’s daughter Michaela. Maxwell recalled, ‘I suppose I was jealous of the girl, subconsciously at least.’151 She ‘thought, right, this is the push, next it will be the shove. I had to introduce her to Roger when he came in as Bond. Perhaps it was the shock of having some new dialogue, but what came out was “James, may I introduce my assistant Miss Smallbush.” Roger didn’t miss a beat. He had these carnations in his hands and he just let them droop as he said, “Moneypenny! We all know where your mind is at.”’152
Vijay Amritraj remembered a special moment at Pinewood:
Christopher Reeve was shooting Superman [III] on another stage at the time. And Chris Reeve, in his cape, came down into the commissary at Pinewood one day when Roger and I were sitting at a corner table and he sat with us and I almost died – I was completely in awe of these two characters sitting with me at the lunch table. Roger Moore in his black tie and Christopher Reeve in his cape. How do you beat that? You’re having lunch with James Bond and Superman.153
Sean Connery’s rival Bond film was being shot in Elstree concurrently. John Glen was unworried, ‘I knew we had a good movie – I hoped they had a good movie.’154 On one occasion, the rushes for Never Say Never Again were sent to Pinewood by mistake and Glen remembered the Octopussy production paid for the car to repatriate the film cans, ‘The editors were friends of mine.’155 Roger Moore remembered commiserating with Connery, ‘We were both making a Bond at the same time. We saw one another a few times. We discussed what method the producers were using to kill us.’156
Principal photography on Octopussy was completed on 21 January 1983. John Barry returned to the Bond series collaborating with lyricist Tim Rice who ‘was surprised and delighted to be asked by John, “Would you like to write the lyrics for the song in the next James Bond movie?” I thought, “Well, that’s a silly question. Yes!” He said, “Well, the film’s called Octopussy.”’ John Barry was clear, ‘Octopussy was just a no, no as a title.’157 Upon hearing the name of title, Tim Rice recalled, ‘There was a bit of a silence. “I’m not sure I can come up with a great lyric called ‘Octopussy.’” And [John Barry] said, “Why not choose six titles that are vaguely Bond-ish. Then they’ll choose one of the six, they’re bound to like one of them.”’158 Basing the lyric on the scripted lines, ‘We’re two of a kind,’ Rice’s song was called ‘All Time High’, a slogan which became integral to the marketing campaign.159 Rita Coolidge recounted how she got the gig, ‘The story that I heard is that Cubby Broccoli’s daughter wanted me to be the singer and they hadn’t chosen the singer yet so she very subliminally put on Rita Coolidge records. One night [Cubby] heard me singing and he said, “That’s the voice I want for the new film.”’160 With the song not actually ready on the day of recording and producer Phil Ramone’s frustrations manifest in the studio, Coolidge had uncomfortable memories of the song.161 ‘All Time High’ was not a chart success, but Tim Rice has gone on to state it has become immensely successful, judging from his royalty statements.162
Maurice Binder shot the titles from March to May 1983. He avoided using a circus motif or India locales, so as not to telegraph the exoticism of the film which would open on dull East Berlin. Binder’s work was innovative at the time:
We used laser beams [and] projected these images on top of nude girls. I’ve used computers before, but I wanted to use them for something more than swirls of smoke. Projecting laser beams … gives quite brilliant colors. I shot part of the titles before I had the final song, but I did have the lyrics. Some of the titles illustrate actions which are in the lyrics. For instance, where Rita Coolidge sings, ‘I didn’t want to waste a waking moment,’ I have an image of a girl suddenly opening her eyes. There’s another part where the song goes, ‘We move as one’ and I have a guy and a girl swinging around, with her legs wrapped around him.163
Maurice Binder was in charge of the trailer campaign which featured Maud Adams introducing audiences to the new Bond adventure. Mindful of Connery’s return as 007, trailers and posters blared, ‘Nobody does HIM better!’ and that ‘Roger Moore IS James Bond.’ With a heavy emphasis on the ‘James Bond Theme’ and elements that were traditional to the series, Octopussy seemed to be the culmination of what was now being recognised as a James Bond brand. It had been twenty-one years in the making.
On 6 June 1983 Octopussy had its royal world charity première in London at the Odeon Leicester Square. Prince Charles attended with Princess Diana, crowds thronged outside the cinema. When released, Octopussy grossed over $182 million worldwide and increased its North American take to $62 million.
In his twenty-first year, cinematic Bond was still a global phenomenon. In a television special, James Bond: The First 21 Years, hosted by Roger Moore, a number of global personalities of the time paid tribute to the coming-of-age birthday of Ian Fleming’s fictional spy. For the ‘farm boy from Long Island’, Broccoli’s cinematic furrow was now lauded in good-natured jest. Chief of fans was the then President of the United States, Ronald Regan, who contributed:
I’ve been asked to state my feelings about a fellow named Bond, James Bond. Well, as I see it, 007, is really a ten. He’s our modern-day version of the great heroes who appeared from time to time throughout history. Bond is fearless, skilled, witty, courageous, optimistic and, one other thing, he always gets his girl. James Bond is man of honour. Maybe it sounds old-fashioned, but I believe he’s a symbol of real value to the Free World. Of course some critics might say that Bond is nothing more than an actor in the movies. Well, then, we’ve all got to start somewhere.164
The creative team assembled for the eighties-era Bond were now hitting their stride. With an emphasis redirected from expensive sets and technology to physical action and character, John Glen and his team would continue to give the series renewed creative avenues to explore, mining elements of the Fleming novels and using specialist action teams to create groundbreaking sequences. Now partnered with a studio for whom film-making seemed something of a distraction, the Bond team also had to be resourceful with budgets and take on increasing competition from those inspired by the 007 legacy. Broccoli noted, ‘I get a kick out of seeing the success of other people who make films, like Spielberg and Lucas. I get a kick out of seeing the lines of ticket buyers standing there. Because that’s our business and if they didn’t have that success with other films, we would all deteriorate … They breathe a success into the whole industry which is what we need.’165
Cubby was not getting any younger and the franchise was looking to the future. As Barbara Broccoli gained a formal role on the productions, the James Bond legacy needed to be nurtured. It was with this confidence that Albert R. Broccoli. Broccoli’s Eon Productions faced the ultimate challenge at the box office that autumn when Sean Connery returned as 007 in Never Say Never Again. In what would be termed, the Battle of the Bonds, interest in Bond was never higher.
1 Stephen Bach, Final Cut dreams and Disaster in the making of Heaven’s Gate, Jonathan Cape Ltd, 1985, p. 386–87
2 Norbert Auerbach Assumes UA Chief Exec Officer Slot; Albeck In Consultant Role by Will Turner, Daily Variety, 19.02.1981
3 Norbert Auerbach Assumes UA Chief Exec Officer Slot; Albeck In Consultant Role by Will Turner, Daily Variety, 19.02.1981
4 Norbert Auerbach Assumes UA Chief Exec Officer Slot; Albeck In Consultant Role by Will Turner, Daily Variety, 19.02.1981
5 In London with Earnie Player, Daily Variety, 13.10.1960
6 UA OK $25 Mil Budget for Next Bond: ‘Octopussy’, Daily Variety, 16.04.1981
7 UA OK $25 Mil Budget for Next Bond: ‘Octopussy’, Daily Variety, 16.04.1981
8 ‘Boards Approve UA Sale to MGM’ Daily Variety, 22.05.1981
9 Stephen Bach, Final Cut dreams and Disaster in the making of Heaven’s Gate, Jonathan Cape Ltd, 1985, p. 386–87
10 Stephen Bach, Final Cut dreams and Disaster in the making of Heaven’s Gate, Jonathan Cape Ltd, 1985, p. 386–87
11 Stephen Bach, Final Cut dreams and Disaster in the making of Heaven’s Gate, Jonathan Cape Ltd, 1985, p. 386–87
12 ‘Begelman Takes Over Tip UA Spot’ by Will Tusher, Daily Variety, 02.10.1981
13 For Your Eyes Only Press Conference by Richard Schenkman, Bondage #11, The James Bond 007 Fan Club, 1981
14 Peter Bart, Fade Out The Calamitous Final Days of MGM, William Morrow and Company Inc., 1990, p. 68
15 54th Academy Awards, 29th March 1982, Dorothy Chandler Pavilion, Los Angeles
16 54th Academy Awards, 29th March 1982, Dorothy Chandler Pavilion, Los Angeles
17 ‘A Happy Birthday for Cubby Broccoli’ by Jody Jacobs, Los Angeles Times, 06.04.1982
18 ‘A Happy Birthday for Cubby Broccoli’ by Jody Jacobs, Los Angeles Times, 06.04.1982
19 ‘A Happy Birthday for Cubby Broccoli’ by Jody Jacobs, Los Angeles Times, 06.04.1982
20 ‘Controversy Over Bond Title Can Only Help Film, Broccoli Says’ by Robert Osborne, The Hollywood Reporter, 12.04.1982
21 For Your Eyes Only Press Conference by Richard Schenkman, Bondage #11, The James Bond 007 Fan Club, 1981
22 ‘American Actor as Next 007?’ by Roderick Mann, Los Angeles Times, 29.06.1982
23 ‘Broccoli and Moore: Still No Bond’ by Roderick Mann, Los Angeles Times, 15.06.1982
24 ‘Broccoli and Moore: Still No Bond’ by Roderick Mann, Los Angeles Times, 15.06.1982
25 Janet Hirshenson and Jane Jenkins with Rachel Kranz, A Star Is Found, Harcourt Inc., 2007, p. 37
26 Janet Hirshenson and Jane Jenkins with Rachel Kranz, A Star Is Found, Harcourt Inc., 2007, p. 37
27 ‘He Who Dared’ by Mac McSharry and Terry Hine, Cinema Retro #4, 2006
28 ‘Now The Stud Is In Line To Take Over as 007’ by Judith Simons, Daily Express, 21.05.1982
29 ‘Broccoli and Moore: Still No Bond’ by Roderick Mann, Los Angeles Times, 15.06.1982
30 http://www.michaelbillington.org.uk/
31 ‘American Actor as Next 007?’ by Roderick Mann, Los Angeles Times, 29.06.1982
32 Maud Adams: Authors’ interview, 12.04.2015
33 John Glen: Authors’ interview, 11.04.2001
34 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
35 ‘Broccoli and Moore: Still No Bond’ by Roderick Mann, Los Angeles Times, 15.06.1982
36 ‘Broccoli and Moore: Still No Bond’ by Roderick Mann, Los Angeles Times, 15.06.1982
37 ‘Roger Moore Back On As James Bond’, Daily Variety, 13.07.1982
38 Janine Glen (nee King): Authors’ interview, 07.05.2015
39 The John Glen Interview by Richard Schenkman and Tom Sciacca, Bondage #12, The James Bond 007 Fan Club, 1983
40 The John Glen Interview by Richard Schenkman and Tom Sciacca, Bondage #12, The James Bond 007 Fan Club, 1983
41 The Official Octopussy Movie Magazine, Starlog, 1983
42 John Glen: Authors’ interview, 11.04.2001
43 George MacDonald Fraser, The Light’s On At Signpost, Harper Collins Publishers Paperback Edition, 2003, p. 236
44 George MacDonald Fraser, The Light’s On At Signpost, Harper Collins Publishers Paperback Edition, 2003, p. 242
45 John Glen: Authors’ interview, 11.04.2001
46 John Glen: Authors’ interview, 11.04.2001
47 Peter Lamont interview, MI6 Confidential issue 21, July 2013
48 John Glen: Authors’ interview, 11.04.2001
49 ‘Richard Maibaum 007’s Puppetmaster’ by Lee Goldberg, Starlog #68, March 1983
50 ‘Richard Maibaum 007’s Puppetmaster’ by Lee Goldberg, Starlog #68, March 1983
51 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
52 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
53 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
54 ‘Controversy Over Bond Title Can Only Help Film, Broccoli Says’ by Robert Osborne, The Hollywood Reporter, 12.04.1982
55 ‘Controversy Over Bond Title Can Only Help Film, Broccoli Says’ by Robert Osborne, The Hollywood Reporter, 12.04.1982
56 ‘Controversy Over Bond Title Can Only Help Film, Broccoli Says’ by Robert Osborne, The Hollywood Reporter, 12.04.1982
57 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
58 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
59 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
60 John Glen: Authors’ interview, 11.04.2001
61 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
62 http://www.michaelbillington.org.uk/
63 Janet Hirshenson and Jane Jenkins with Rachel Kranz, A Star Is Found, Harcourt Inc., 2007, p. 36
64 Janet Hirshenson and Jane Jenkins with Rachel Kranz, A Star Is Found, Harcourt Inc., 2007, p. 36
65 On Location with A View To A Kill by Lee Goldberg, Starlog #92, March 1985
66 John Glen: Authors’ interview, 11.04.2001
67 Janet Hirshenson and Jane Jenkins with Rachel Kranz, A Star Is Found, Harcourt Inc., 2007, p. 36
68 Maud Adams: Authors’ interview, 12.04.2015
69 Maud Adams: Authors’ interview, 12.04.2015
70 John Glen: Authors’ interview, 11.04.2001
71 Louis Jourdan interviewed by Judith Chalmers, Octopussy The Royal Premier, Thames Television, 06.06.1983
72 ‘Moore Still Ponders New Bond Role’ by Roderick Mann, Los Angeles Times, 27.04.1982
73 Kabir Bedi: Authors’ interview, 06.05.2015
74 George MacDonald Fraser, The Light’s On At Signpost, Harper Collins Publishers Paperback Edition, 2003, p. 242
75 Kabir Bedi: Authors’ interview, 06.05.2015
76 Kabir Bedi: Authors’ interview, 06.05.2015
77 Kristina Wayborn: Authors’ interview, 07.05.2015
78 Kristina Wayborn: Authors’ interview, 07.05.2015
79 Kristina Wayborn: Authors’ interview, 07.05.2015
80 Vijay AMr. itraj: Authors’ interview, 08.06.2015
81 Vijay AMr. itraj: Authors’ interview, 08.06.2015
82 Vijay AMr. itraj: Authors’ interview, 08.06.2015
83 Vijay AMr. itraj: Authors’ interview, 08.06.2015
84 Vijay AMr. itraj: Authors’ interview, 08.06.2015
85 Vijay AMr. itraj: Authors’ interview, 08.06.2015
86 David Meyer: Authors’ interview, 08.05.2015
87 David Meyer: Authors’ interview, 08.05.2015
88 Steven Berkoff, Free Association: An Autobiography, Faber and Faber, 1996, p. 332
89 Roger Moore with Gareth Owen, My Word is My Bond, Michael O’Mara Books Ltd, 2008, p. 305
90 ‘Reporting from the set of Licence To Kill,’ by Richard Schenkman, Bondage: The publication of the James Bond Fan 007 Fan Club, issue 16
91 ‘Reporting from the set of Licence To Kill,’ by Richard Schenkman, Bondage: The publication of the James Bond Fan 007 Fan Club, issue 16
92 ‘Richard Maibaum 007’s Puppetmaster’ by Lee Goldberg, Starlog #68, March 1983
93 John Glen: Authors’ interview, 11.04.2001
94 John Glen: Authors’ interview, 11.04.2001
95 John Glen: Authors’ interview, 11.04.2001
96 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
97 ‘James Bond doesn’t do CGI: Inside 007’s amazing real–world action’ by Gavin Clarke, www.theregister.co.uk, 25.10.215
98 Alec Mills, Shooting 007 And Other Celluloid Adventures, The History Press, 2014, p. 184
99 Philip Wrestler: Authors’ interview, 06.09.1999
100 ‘James Bond doesn’t do CGI: Inside 007’s amazing real–world action’ by Gavin Clarke, www.theregister.co.uk, 25.10.215
101 ‘James Bond doesn’t do CGI: Inside 007’s amazing real–world action’ by Gavin Clarke, www.theregister.co.uk, 25.10.215
102 ‘James Bond doesn’t do CGI: Inside 007’s amazing real–world action’ by Gavin Clarke, www.theregister.co.uk, 25.10.215
103 ‘007 x 4: John Richardson’ by Nora Lee, Cinefex 33, February 1988
104 ‘007 x 4: John Richardson’ by Nora Lee, Cinefex 33, February 1988
105 ‘James Bond doesn’t do CGI: Inside 007’s amazing real–world action’ by Gavin Clarke, www.theregister.co.uk, 25.10.215
106 Philip Wrestler: Authors’ interview, 06.09.1999
107 Philip Wrestler: Authors’ interview, 06.09.1999
108 John Grover: Authors’ interview, 12.02.2014
109 Philip Wrestler: Authors’ interview, 06.09.1999
110 Philip Wrestler: Authors’ interview, 06.09.1999
111 John Glen: Authors’ interview, 11.04.2001
112 Philip Wrestler: Authors’ interview, 06.09.1999
113 John Glen: Authors’ interview, 11.04.2001
114 Trade Advert, Daily Variety, 10.08.1982, p. 67
115 John Glen, For My Eyes Only, B.T. Batsford, 2001, p. 149
116 Peter Lamont: Authors’ interview, 03.01.2014
117 John Glen: Authors’ interview, 11.04.2001
118 Kristina Wayborn: Authors’ interview, 07.05.2015
119 Kabir Bedi: Authors’ interview, 06.05.2015
120 Steven Berkoff, Free Association: An Autobiography, Faber and Faber, 1996, p. 332
121 Maud Adams: Authors’ interview, 12.04.2015
122 Maud Adams: Authors’ interview, 12.04.2015
123 Maud Adams: Authors’ interview, 12.04.2015
124 Remy Julienne: Authors’ interview, 21.10.2008
125 The Official Octopussy Movie Magazine, Starlog, 1983
126 Vijay AMr. itraj: Authors’ interview, 08.06.2015
127 ‘Roger Moore is Agent 007’ by Charles Bogle, Starlog #72, July 1983
128 Vijay Amritraj: Authors’ interview, 08.06.2015
129 Vijay Amritraj: Authors’ interview, 08.06.2015
130 ‘Roger Moore is Agent 007’ by Charles Bogle, Starlog #72, July 1983
131 David Meyer: Authors’ interview, 08.05.2015
132 Martin Grace: Interview with Anders Frejdh
133 Alan Hume with Gareth Owen, A Life Through The Lens, MacFarland and Company Inc. Publishers, 2004, p. 124
134 Martin Grace: Interview with Anders Frejdh
135 Martin Grace: Interview with Anders Frejdh
136 Martin Grace: Interview with Anders Frejdh
137 ‘Controversy Over Bond Title Can Only Help Film, Broccoli Says’ by Robert Osborne, The Hollywood Reporter, 12.04.1982
138 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
139 Maud Adams: Authors’ interview, 12.04.2015
140 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
141 ‘On The Set Of Octopussy’ by Richard Holliss, Starlog #71, June 1983
142 Kabir Bedi: Authors’ interview, 06.05.2015
143 Steven Berkoff, Free Association: An Autobiography, Faber and Faber, 1996, p. 332
144 Steven Berkoff, Free Association: An Autobiography, Faber and Faber, 1996, p. 332
145 Maud Adams: Authors’ interview, 12.04.2015
146 John Grover: Authors’ interview, 12.02.2014
147 Sandy Hernu, Q: The Biography of Desmond Llewelyn, S.B. Publications, 1999, p. 118
148 Desmond Llewelyn: Authors’ interview, 23.04.1999
149 ‘The Man Called Q’ by Charles Bogle, Starlog #72, July 1983
150 Desmond Llewelyn: Authors’ interview, 23.04.1999
151 ‘Secrets of 007’ by Jonathan Margolis, Mail On Sunday, 10.08.1986
152 Vijay Amritraj: Authors’ interview, 08.06.2015
153 Vijay Amritraj: Authors’ interview, 08.06.2015
154 John Glen: Authors’ interview, 11.04.2001
155 John Glen: Authors’ interview, 11.04.2001
156 Roger Moore: Authors’ interview, 26.04.215
157 James Bond’s Greatest Hits, Channel 4, 18.11.2006
158 ‘The Real John Barry’, produced by Unique Broadcasting written and produced by Stuart Grundy, BBC Radio 2, 26.01.2001
159 ‘The Real John Barry’, produced by Unique Broadcasting written and produced by Stuart Grundy, BBC Radio 2, 26.01.2001
160 James Bond’s Greatest Hits, Channel 4, 18.11.2006
161 James Bond’s Greatest Hits, Channel 4, 18.11.2006
162 Tim Rice: A Life In Song, Royal Festival Hall, Southbank Centre, London 08.07.2014
163 ‘Maurice Binder, Part Two’ by Don McGregor, Starlog #75, October 1983
164 ‘James Bond: The First 21 Years’, producer Charles Brand, London Weekend Television, 27.05.1983
165 Albert R. Broccoli Broccoli by Adam Pirani, Starlog #99, October 1985