Collecting the Lifestyle of James Bond

Paul Kyriazi specializes in making men of mice, and Bonds out of barely successful fellows. He is the author and lecturer of “How to Live the JAMES BOND Lifestyle”, a fascinating program geared toward turning our Walter Mitty-ish fantasies about the world’s greatest super spy into practical advice for conquering our own personal supervillains and winning the girl and saving the day.

Drawing heavily from the world of 007, especially the man’s man portrayal of Bond in the early 60’s films, Kyriazi walks his listeners through more than a dozen chapters offering advice on everything from the secret motivations of women to “taking command” of resorts and securing choice hotel accommodations, to gambling in Las Vegas like Bond in Diamonds Are Forever (but on a sensible gaming budget!) and living, thinking, dressing and acting for success, just like our man 007.

Straightforward, whimsical and personable, Kyriazi delivers a cornucopia of tips and tricks for success for men among James Bondian moves, witticisms and choices. He points out the universals of Bond’s appeal, such as a constantly intrigued, bemused expression on a tanned, weathered face with an appetite for life, the delivery of fun, charm and sophistication to any woman he meets, always having the right gadget and the right amount of cash, charm and control to get the job done at hand, and much more. Kyriazi’s Bond is the gentlemanly lover of a good woman in “On Her Majesty’s Secret Service”, the connoisseur of fine beverages in “Goldfinger” and the man of the world who knows how to tip his help in “Diamonds Are Forever”.

Working now in Japan to train men to live and think for success with his popular program on “Mr. Kiss-Kiss-Bang-Bang”, Paul Kyriazi has taken the lifestyle of the world’s greatest fictional hero and honed it to acquiring the confidence and sophistication today’s man needs to survive with integrity in our dog-eat-dog culture. Bond fans will enjoy his materials and reminiscences, and men needing to get organized, get sensible about their budgets and get ahead in life will benefit as well.

To learn more about living like James Bond contact Paul Kyriazi and his staff by email or online at or their website, “Bondlife.Com” or by mail at:


–Matt Sherman’s twenty-year-plus hobby of collecting James Bond 007 has taken on a new and ironic dimension through “How to Live the JAMES BOND Lifestyle”, practicality!

you only script twice

Let’s start with the plot.

The “Revenge Factor” was present througout the book. In the film the plot was changed to Blofeld stealing rockets. Next, the two major villians of the book are missing. Shatterhand is altered into Blofeld, and Emmy Shatterhand is just missing all together. Her character was basically replaced by Osato`s assistant, Helga Brandt. And Osato was a totally new character created for the film.

Three characters who stayed were malicously altered. Dikko Henderson became just Mr. Henderson, and was in the movie for about 90 seconds. In the novel, he was in at least 50 pages. The other returning character was Tiger Tanaka. He wasn`t as altered as Henderson, but he isn`t even close to being the novel like version. Kissy Suzuki is the same way, and actually, 007 never once says her name! Her way of life as a former actress and as a shell diver was also defeated in purpose.

Shatterhand`s magnificant Castle of Death was transformed into Blofeld`s cave on a Japanese Island.

tomorrow never changes?

The Tomorrow Never Dies novel by Raymond Benson follows the plot lines closely of the final film. Author Benson wrote his book from an early script provided to him by EON. For purposes of rushing the book to coincide with the film’s release, (publishers need the books completed months ahead) authors typically write from first script drafts—even if the film hasn’t wrapped shooting and changes the final result!

Mr. Benson has himself stated that Tomorrow Never Dies and his forthcoming The World Is Not Enough are not among his favorite efforts because they were done at speed to satisfy the fans. First printings of the British hardback of TND, however, are fetching nearly $200 US, due to their selling out from bookstores in a matter of days after its release.

Which juicy tidbits make it to the book that are not on celluloid? Intriguing lines of Bruce Feirstein’s scripted dialogue and character backgrounds, mostly.


Intriguingly, Raymond Benson’s Stamper was genetically engineered to be without nerve endings! In effect, he can “feel no pain,” a skill numerous moviegoers might envy. In the film Stamper’s invulnerability is nearly unexplored—watch when he smiles as Bond’s knife finds a target in his leg. Stamper apparently enjoys snuff video, and possibly pornography also, for his lighter TV watching. In the final film, his crew on Carver’s “Stealth Ship” videotapes the gunning down of Devonshire survivors. This plot element is not played to any effect greater than a quick, greedy glance between Carver and Stamper, who share a taste for sensational video in the novel.


In the novel, MI6 Chief of Staff, Bill Tanner, appears from the beginning, but in the film this longtime ally has been replaced by “Get out of it, James!” Robinson.

After escaping from the Khyber Pass alive, Bond (White Knight) sends a message to the haughty Admiral Roebuck, code named Black King: “…you can tell the Black King that the White Knight would like to shove the whole chessboard right up his bishop!” In the final film, this provocative line has been replaced with the terse: “Ask the Admiral where he’d like these (bombs) delivered.”

The exotic Wai Lin has a background mission that hastens her visit to Elliot Carver’s Hamburg headquarters. She receives orders from a “General Koh” to investigate “General Chang.” The film has pitched Wai Lin’s assignment from her superiors, and a silent General Chang is glimpsed once by Wai Lin and Bond.

Wai Lin and 007 make hanky-panky before boarding the Stealth Ship and again after its destruction. In the film, we are teased with an embrace as the final credits roll.

Both 007 and Wai Lin pose as bankers, while in the film Wai Lin’s television reporter cover earns a few risqué laughs from Carver when he threatens to “get Miss Lin behind a news desk.”

In the book, Paris is “introduced” to James Bond by her hubby, Elliot Carver. She promptly slaps Bond silly and rushes Wai Lin into a powder room to gossip about him! In the film, of course, Bond stalks up behind Paris, alone, and quips “I’ve always wondered how I’d feel if I ever saw you again.” This line comes from their hotel room scene in the novel.

the thunderball transformation

Amazingly, all major characters from the novel went into the movie. The movie is missing some key scenes from the book though. First off is the opening of the book where M packs 007 off to Shrublands. In the movie Bond is there for no apparent reason.

The next cut from the book was seeing the face of Ernst Stavro Blofeld, the leader of SPECTRE. He was very visable in the novel, with a full description. We just see his hands in the movie. Following that, a very enjoyable lunch scene between Bond and Leiter was taken out, because it was tangent and had little to do with plot developement.

The two final cuts were from the climax. First Bond was on board a US naval vessel, recruiting for the fight against Largo`s men, underwater. This scene never happens, in the film and the US soldiers are just there to help 007. And finally the climax in the water featured a terrific fight between 007 and Emilio Largo and ended with Domino killing Largo. In the movie, the setting is changed to the bridge of the Disco Volante.

octopussy – book to film transformation

Very little of Ian Fleming’s book Octopussy made it onto the big screen. Major Dexter Smythe was the main character in Ian`s short story, but gets only a passing reference in the film. In the book, Bond tracks down the greedy Major to Jamaica, not Sri Lanka, as in the film.

Octopussy, in the novel, was in reference to the Major`s pet Octopus that dined off his beach, whereas in the movie, it referred to a beautiful jewel smuggler. Oberhauser was Smythe`s guide through rough German mountain terrain, yet is not mentioned by name in the film. The location of Germany is used in both the book and film, but not for the same reasons.

The other short story the film Octopussy was based upon was called The Property Of A Lady. The film combined the character of Kenneth Snowman and Dr. Fanshawe into Jim Fanning, who did accompany Bond to Sotheby`s in the film. In the book Bond tried to spot the person bumping up the price, whereas in the film Bond `bumps up the price`. In the film, the Faberge is the object d`art, whereas in the book, it was called the Emerald Sphere.

licence to kill – adaptation

License To Kill was based, in part, upon two different Fleming Novels; the novels–Live And Let Die and The Hildebrand Rarity. With most novel to film transitions, some of the most fun can be had seeing what made the final script and what did not. We`ll first take a look at The Hildebrand Rarity.

The Milton Krest character made the film, but he was drastically different than the book character. As in the book, LTK`s Krest had a drinking problem. What Krest did`nt have in LTK was his `corrector`, a whip made of sea spines. He used it, in the book, to keep his wife in line. In the film, the `corrector` is given to the newly created character of Franz Sanchez, who only uses it once. Liz Krest did`nt make the film, but instead was essentially replaced by Lupe Lamora. The WaveKrest in the book made the film and in both cases, The WaveKrest was being used searching for marine specimens as a cover for more nefarious activities. In the case of The Hildebrand Rarity, The WaveKrest was used as a tax writeoff/way to travel around the world free. In LTK, it was used to smuggle cocaine.

A whole section was taken from Live and Let Die, that had not been used for the film of that name. Mostly, this had to do with the revenge of a criminal against Felix Leiter, and how Bond reacted to it. In the book, Felix was partially fed to a great white shark and a note attached to the leftovers of his body that said “He disagreed with something that ate him”. In the book, this sequence takes place on an ocean front warehouse in Tampa/St.Petersburg, whereas in the film, it takes place in Key West.

In the book, Bond is investigating treasure smuggling by Mr. Big. In LTK, Felix and Bond investigate drug smuggling by Franz Sanchez. In LALD, the treasure was being smuggled in the bottom of aquariums that had collected sea creatures. The gold coins were buried in the silt. In LTK, the cocaine was smuggled inside the WaveKrest, and buried underneath a maggot incubator.

In The Hildebrand Rarity, Bond was aided by Fidele Barbery and in Live and Let Die, Bond was aided by Quarrel. In License To Kill, Bond is aided by Sharky who is either one of these characters in disguise. Take your pick.

now hold on there, goldfinger

Missing in the film is Junuis Du Pont, the man who has been taken to the cleaners by Auric Goldfinger. Also missing are Goldfinger`s backers, SMERSH, as well as the use of a train for the heist. Instead he is backed by the Red Chinese, who also have supplied him with an atomic bomb. Also, a vital scene in a New York hospital where Bond and Tilly Masterton are being held was removed because Oddjob killed Masterton in the film.

The way that Goldfinger has planned to poison the town is also different in the book than in the film. In the book he places a diluted substance in the water, which will knock out everyone. In the movie he puts it into the air. And finally, the most memorable scene in the film , the laser scene, was originally a huge industrial saw used to torture Bond. In the book it had to be a saw because commercial use lasers, as a rule, hadn`t been invented yet.

from russia, with changes

SMERSH, the villian in the novel has now become SPECTRE. The plot is to have Bond killed in a major scheme while trying to steal a Spektor decoder. The movie`s plot was to have Bond deliver the Lektor decoder to Grant, who would sell it back to the Russians, after disposing of 007.

The character of General G, the main leader of SMERSH in the novel was replaced almost exactly by Ernst Stavro Blofeld, the leader of SPECTRE in the movie. The chracter of Rene Mathis was not used at all, and was a missed opportunity. Most of the locales of the novel were used, except Paris, France. In the movie, this was changed to Venice, Italy.

For Your Eyes Only: From A book to a film

One of the finest Bond movies of the 1980`s was created from three separate short stories and a novel. Fleming work used to create the screenplay? For Your Eyes Only, Risico and Live and Let Die.

For Your Eyes Only
To start off, there are simply no major characters who were removed from the story to the movie except “M” and von Hammerstein. The character of “M” was “away” and replaced by Chief of Staff Frederick Gray. This was due to the death of Bernard Lee, who had played “M” since the first film in 1962. Screenwriter Richard Maibaum replaced Von Hammerstein from the book with Kristatos for the film.

Dialogue that was used for the film, from the book, included: “The Chinese have a saying, before going out on revenge, dig two graves” and “You go to hell. It was my parents who were killed, not yours.” Maibaum tweaked the dialogue from the story but the essence was the same.

Major changes were A) Location and B) a few characters, names and backgrounds. Col. Havelock had a higher ranking and was an official knight. His wife`s first name was never mentioned in the movie. Also, both of the parents were British in the story, whereas in the movie, Mrs. Havelock is Greek. The other change was to his daughter, Judy became Melina in the movie. It was changed because the name is more ethnic than “Judy”.

The locations were changed as well. Jamaica was the scene of the Havelock`s assasination in the book. In the film, it was replaced by Greece. Vermont was the scene of Von Hammerstein`s assasinatin by Judy in the book, but was replaced by Southern Spain. Cortina, Italy was not featured in the book.

First off, the few major characters Kristatos, Colombo and Lisl Baum are all included in the translation from page to screen. The only thing that did change, much like For Your Eyes Only, was the location, this time from Rome and Milan to Greece.

One of the most interesting things is that the dining scene was faithfully re-created, including the scene where Colombo has a tape recorder planted inside the candle holder at Bond and Kristatos` table. This scene is also where Kristatos gives Bond Colombo`s nickname (rumored in the movie) of `The Dove.`

Another scene that was taken directly, nearly word for word from the story was Bond`s cover to Lisl: that he was doing a story on smugglers. Here is Fleming`s passage: “My name is Bond, James Bond. I`m a writer, doing a story on smugglers, drug smugglers. I`m having trouble with the trade. Would you happen to know any stories?”

“Oh, so that is why you were having dinner with Kristatos. He has a bad reputation. As for the stories, I know none. I know what everyone else knows.”

Also, the scene where Bond fights three of Colombo`s thugs was included, but the death of Lisl Baum doesn`t happen there, or at all. In the book, she never gets killed; she only disappears for a while.

One interesting bit taken from the story and put in the film was that one of the two smugglers had received the King`s Medal for resistance fighting. However, in the book, Colombo received it; in the movie Kristatos was the hero.

Miscellaneous References
For Your Eyes Only (the movie) also picks up a scene from the novel Live and Let Die. In that book, Solitaire and Bond are bound together, tied to the end of Mr. Big`s yacht, and keel hauled across a harbor full of coral. In For Your Eyes Only, the writers substitute Melina for Solitaire. In the book, Mr. Big`s yacht blows up due to a timed mine placed underneath the hull by 007. In the movie, James and Melina escape by cutting their ropes on the coral and swimming to safety.

Diamonds Are Forever Conversion

Tiffany Case made it to the film. Jill St. John captured a lot of Tiffany`s attitude in the film without having to explain what caused her to be so cold towards men. The Spang Brothers gang of crime was replaced by Morton Slumber and his dense goons.

Shady Tree went from being a New York mobster in the book to a lounge act in the film. Wint and Kidd were faceless killers right up until the end of the book. They wore masks, were from Detroit and were more vicious in the book than in the film, though they were still lovers in the film. Felix Leiter made both the book and the film, though in the book he was working on the same case as Bond, but from a different angle.

From A View To A Kill

From A View To A Kill is a short story in the For Your Eyes Only collection. A weak entry in Fleming`s canon to begin with, it`s virtually useless as a springboard for creating a film. Only Bond and M in the short story make it into the film.

The location of Paris, France also makes it into the film. Other than that, there is no resemblance whatsoever between book and film.

sela ward

In  interviews that the then-41-year-old SISTERS star has done to promote her new ABC show, ONCE AND AGAIN, she revealed that she tried out for the role of Paris Carver in TOMORROW NEVER DIES. While she didn`t name the director, she was obviously talking about Roger Spottiswoode when she said, “The director told me they wanted the Sela Ward of 10 years ago.” In other words, they considered her to be too old. This is interesting. After United Artists cancelled any plans to cast a European actress in the role of Paris, they looked to Sela Ward before they settled on Teri Hatcher, who was younger and certainly more popular among males.

Sela was an established film and television star before trying out for the role of Paris Carver. She won critical acclaim for her portrayal of newsreporter Jessia Savitch in the Lifetime film: ALMOST GOLDEN: THE JESSICA SAVITCH STORY as well as the doomed wife of Harrison Ford in the 1993 blockbuster film THE FUGITIVE. After failing to get the role in TOMORROW NEVER DIES, she starred opposite Mike Myers, Ryan Phillipe and Salma Hayek in 54, the true life account of the infamous 1970`s New York disco that was a mecca for drugs, sex and dance music.

Tomorrow Never Dies: Julia Bremermann

The star of the British drama Space Island One was rumored to be in the running for Elliot Harmsway`s (last name later changed to Carver) wife in Tomorrow Never Dies. A member of Bondklub Deutschland (German Bond Club) spoke with Bremermann`s agency in Hamburg and they confirmed that she had a casting session for TND.

As a result Roger Spottiswoode wanted her to portray Elliot Harmsway`s German wife, a former serious love affair of Bond. But Spottiswoode wasn`t allowed to give her a contract when the producers and MGM/UA said Bremermann would be one German element too much (as they already had Hamburg as a location and Götz Otto as a henchman and BMW as Bond`s car). So she didn`t get the job and Spottiswoode was told to accept Teri Hatcher, which caused a lot of trouble between the director and the producers.

Pulp and Bon jovi

Pulp submitted a song to the producers for consideration for Bond 18 (later officially titled Tomorrow Never Dies). The song, like so many others, was “rejected”. But Pulp, being big Bond fans, were undeterred. They simply retitled the song “Tomorrow Never Lies” (which was incidentally the original title of the film until a typing error) and released it on their latest album.

Jon Bon Jovi was asked to submit a song for Bond 18, either by the producers or by David Arnold. Whether he did or not is unknown.

Yvonne Monlaur and Raquel Welch

Racquel Welch… She was actually signed for the role of Domino in Thunderball but got out of the role at the last minute at the request of her agent. She wanted to do a different project. Yvonne Monlaur…The French actress donned a black swimsuit and screen tested for `Domino` in `Thunderball` – she was most famous then for her superb performance in the Hammer horror classic `The Brides of Dracula`.

The World Is Not Enough: Monica Belluci and Milla Jovovich

Belluci would have played Paris Carver in Tomorrow Never Dies had she gotten the chance. She screen tested for the part, and impressed Pierce Brosnan enough to be his choice. But executives at EON wanted a “name actress” so they hired Teri Hatcher instead (see also Tomorrow Never Dies: Julia Bremermann for more on this subject). She may have been the number two choice on a short list of actresses to play the role but Roger Spottiswoode was quite high on having her play the part, and yet overruled by the studio.

She was born September 30th, 1968 in Perugia, Italy. In 1988 she began studying law but dropped her studies a year later to move to Milan to become a model. She`s appeared in the 1992 Francis Ford Coppola film “Dracula”, and has been nominated for a Cesar as The Most Promising Actress 1996. Her name may have come back up for consideration when the role of Elektra was in the early stages of being cast. As casting narrowed down to a conclusion, European news sources at the time indicated the role was down to two actresses: Milla Jovovich and Sophie Marceau. Sophie Marceau, the older actress, and older looking and far more experienced actress, got the part.

javier bardem – an early look

When Oscar nominations were announced on Tuesday, February 13th, 2001, an audible gasp and a thunderous round of applause went out when the name of Javier Bardem was called. The actor, nominated for “Before Night Falls”, was considered a long-shot to get a nomination for a film that, as a whole, had not generated much Oscar-buzz.

Bardem was to soon become a household name around the world (and was already a big star in Spain), but had he accepted the offer to play Renard in THE WORLD IS NOT ENOUGH, he may have become even more famous much sooner. In the February 23rd, 2001 issue of Entertainment Weekly, Bardem tells the reporter Steve Daly why he turned down Renard: “With all my respects….that is not the kind of thing I like to do. I want to be on risk. Otherwise this job has not a meaning.”

His English still needed work and perhaps that`s the real reason he didn`t play Renard.

ginger spice? Liz Hurley?

Better known as “Ginger Spice” of The Spice Girls, Geri met with The World Is Not Enough director Michael Apted for the role of Dr. Christmas Jones. She didn`t get it. Her only explanation was that “things just didn`t work out”.

Elizabeth Hurley, world supermodel and girlfriend of Hugh Grant, an actress in her own right, was rumored to have been approached for a role in GoldenEye and ever since. She didn`t do anything in the film, but she did present a 45 minute tribute to the Bond series that aired on FOX-TV in the United States later in 1995.

The Spy Who Loved Me: David Prowse and Will Sampson

(David Prowse was a costumed Darth Vader in the original “Star Wars” Trilogy) Was cast as `Jaws` by director Terence Young for “The Spy Who Loved Me”. When Young jumped ship and went on to try for `Superman`, Prowse went with him and Lewis Gilbert cast Richard Kiel instead.

Will Sampson was a 7 foot tall Native American actor who also was approached to play “Jaws” in The Spy Who Loved Me. He is perhaps best known for a role in “One Flew Over The Cuckoos Nest”. He also starred opposite Chuck Norris in “Firestarter”.

TMWTGG – Alice Cooper

The album “Muscle of Love” contains the `Golden Gun` theme song he submitted to EON after they had invited him to do so. Cooper, a James Bond/John Barry fan, may have hoped EON was looking for another hard, Live and Let Die-style song for The Man With The Golden Gun, but they didn`t like Cooper`s offering and rejected it. Variations on the song have Liza Minnelli doing guest vocals.

A sample of the song can be found here:

Guitar tabs to the song can be found here:

Here are they lyrics to Cooper`s version:
The Man With The Golden Gun [4:12] – Muscle of Love, 1973

The man
With the golden gun
Is waiting
Out there
For you

But you`ll never see him
He`ll be looking for you

For the golden gun
It`s high priced
And true

But you`ll never see him
He`ll be looking for you

The man with the golden
Gun in his pocket, Oh, oh
The man with the golden
Gun in his case, Oh, oh
The man with the golden
Gun in your face

But you`ll never see him
He`ll be looking for you
You better believe
He`ll be looking for you

He-e-e-e-e-e`s, The man with the golden
Gun in his pocket
The man with the golden
Gun in his case
The man with the golden
Gun in his pocket
The man with the golden
Gun in your face

But you`ll never see him
He`ll be looking for you
You better believe
He`ll be looking for yo-ou

He-e-e-e-e-e`s, The man with the golden
Gun in his pocket
The man with the golden
Gun in his case
The man with the golden
Gun in his pocket
The man with the golden
Gun in your face

The man with the go-o-olden
Gun in his pocket
The man with the go-o-lden
Gun in his case
The man who gave you the golden gun

The Living Daylights: Sam Neill, Lambert Wilson and Finlay Light

Barbara Broccoli, Michael Wilson and Director John Glen all considered Sam Neill to play 007 for “The Living Daylights”. His name was circulating around the studios at that time in part due to the mini-series Reilly: Ace of Spies but the one producer whose vote counted the most, Albert Broccoli, wasn`t so certain. He was thinking of Lambert Wilson.

And Aussie model Finlay Light also was mentioned for the role, but how seriously his ranking was on EON`s list is not known. It appears that Mr. Light may have bragged, exaggerated or even flat out fabricated a story that had EON interested in him. In fact, some even wonder if Finlay Light exists. No one seems to have ever seen him, talked to him or heard of him. Alright, actually we’ve seen his screen test.

The Living Daylights: Pierce Brosnan

Brosnan was signed to do Bond in 1986. At the very least, he was the leading choice of Broccoli and company. The interest swirling around Brosnan as Bond caused NBC to hold onto Brosnan and his Remington Steele show, a show they had cancelled, but still had a 60 day renewal option on. The script sat on his nightstand for weeks, undread, until Brosnan was sure he was free to do Bond.

Then on the 59th day of a 60 day renewal window, NBC brought back Remington Steele. Yet it wasn`t totally over with. EON was willing to alter its schedule by 6 weeks to allow Brosnan to do both `Steele` and Bond, but finally Cubby Broccoli got tired of NBC`s hardball tactics and decided there was no reason to spend any more time and money pursuing Brosnan when people could see him on television for free. Brosnan of course got the role 8 years later.

The Living Daylights: The Pet Shop Boys!

A bootlegged Pet Shop Boys LP in existence came complete with an instrumental track titled James Bond #1/James Bond #2. The sleeve says that it had originally been meant for The Living Daylights but was never used. Why it was not used is unclear, as it`s pretty good and Bondlike. It may possibly have been because of the group`s antipathy towards soundtrack albums (they also turned down the chance to do the music for The Lives and Loves of a She-Devil and Pretty Woman).  Rumor has it they wouldn’t do the title song only and wanted the whole soundtrack or none of it.

The song was later used as the backing track to This Must Be The Place I Waited Years To Leave on the 1990 Behaviour album.

The Living Daylights: Antony Hamilton

When a worldwide search began for the next James Bond in 1986, 007 history says that Roger Moore anointed Pierce Brosnan as his successor if his word meant anything. And try the producers did to secure Brosnan. But after failing to negotiate an agreement with NBC over Brosnan`s future, the role went to Timothy Dalton. But not so fast. Between Roger Moore and Timothy Dalton there was Pierce Brosnan. But between Roger Moore and Pierce Brosnan there was Antony Hamilton. In fact, other than Brosnan, there was probably no other actor at that time that came so close to getting that coveted role of James Bond and ended up going home empty handed. But why? Who exactly was Antony Hamilton? How could he get so close and yet be denied?

Antony Hamilton was born in Liverpool, England 1952. He eventually became a professional ballet dancer with the Australian Ballet Company before making a move to Hollywood to pursue the life of an actor. He took small parts in television shows and movies, including the lead role of Samson in “Samson and Delilah”. But it was a fateful mistake by another actor that would put Hamilton in position to make a run for Bond.

Jon-Eric Hexum was a young, good looking Hollywood actor, mid 20`s, co-starring on the CBS-Television show “Cover Up” with Jennifer O`Neill. The show partnered O`Neill and Hexum as undercover agents busting spy rings and crooks. One day, while the cast was taking a break, Hexum picked up a prop gun from the set. While it didn`t have any bullets in it, it did have a blank cartridge. Hexum put the gun to his temple, playfully said words to the effect of `Let`s see if there is one in here for me` and pulled the trigger. The impact from the blast was immediate. It shoved a chunk of Hexum`s skull into his brain. He went into a week long coma and died.

Hamilton took over as O`Neill`s new partner, but the show didn`t go on much longer. It did however catch Cubby Broccoli`s attention.

Antony Hamilton confirmed to People Magazine in December of 1985 that Albert R. Broccoli had contacted him about possibly taking over the role of 007. The People Magazine article was a small one, with a picture of Hamilton and the caption: “A View To A Role?”. And depending upon whom you talk to, the story either goes that Antony was made a firm offer and then had it withdrawn, or that the talks were only preliminary and an offer was never made. What`s not in dispute is that after Cubby Broccoli began considering Hamilton, he discovered that Antony was homosexual, a definite lifestyle clash when compared to the role of James Bond as a womanizing heartbreaker.

Caught up in the mid 1980`s of Reagan-era conservativism, Hamilton never stood a chance. Whether it was withdrawn or merely not offered is probably pointless to debate. In the “old days”, an actors sexuality, even the hint of it not being “straight”, was kept quiet by the tabloids and other media outlets, who complicitly went along with the studio`s request to keep mum about it. But ever since the Rock Hudson debacle, it was apparent that any celebrity`s sexuality would become fair game. Cubby, nor the studio, could trust that Hamilton`s sexuality would not become an issue, nor could they guarantee that the press wouldn`t dig it up. After all, Broccoli and company were acutely aware of the firestorm that ensued when it was revealed that a former Bond Girl, Tula Cossey, was actually born a man.

Antony went on to small roles in a variety of films including “Jumping Jack Flash”, which starred future Bond villain Jonathan Pryce as the title character. Hamilton did end up getting to play a spy of sorts; he starred for 2 years on ABC`s revival of Mission:Impossible that ran from 1988 -1990. He then joined forces with former “Cover Up” producer Bob Shayne for the television show “P.S. I Luv U”. The show lasted one season.

Antony died of AIDS-related complications in Los Angeles March 29, 1995.

Below is an article on Antony Hamilton taken from the May 25th, 1985 edition of TV GUIDE. Already the foreshadowing, the parallels, to James Bond were beginning.

–Lack of acting experience hasn`t kept the one-time Australian
dancer from starring in a prime-time spy series–
By Bill Davidson

There was considerable tension that monday morning on the set of the CBS series Cover Up. For one thing, a pistol shot had to be fired by one of the stuntment as part of the run-and-chase action. Ordinarily, pistol shots are as common on TV action shows as bangles on Mr. T–but this time everyone remembered the shot that had closed down the series not quite three weeks before. Cover Up co-star Jon-Erik Hexum had killed himself by shattering his skull with a blank from a .44 Magnum he had been reloading for a routine scene. Says Antony Hamilton, Hexum`s replacement as the hero of the series, “That pistol shot on the first day of the resumption of filming was a psychological hurdle we all had to get over–especially me, because I was a friend of Jon-Erik`s.” (And especially co-star Jennifer O`Neill, some might have said, because, in 1982, O`Neill shot herself in the abdomen with a supposedly unloaded .38 caliber revolver she kept in the bedroom safe of her Bedford Hills, N.Y. home.)

The second cause of tension on the Cover Up set that day was the fact that Hamilton was making his debut as O`Neill`s new partner in espionage, Jack Striker (Hexum`s quite different character had been named Mac Harper). The cause of the anxiety was that the 6-foot-2, 30-year-old Hamilton had been a ballet dancer with the Australian Ballet Company, then a model for 10 years, and then an actor in only one previous TV production, an undistinguished ABC TV-movie called “Samson & Delilah.” “A ballet dancer?” groaned one unsophisticated electrician on the set. “Do you think he`ll be an alto or a soprano?” To his surprise, Hamilton came equipped with a rich baritone, the rangy build of a pro-football wide receiver, a noticeable Australian accent and an aura of James Bond-like masculinity. A further surprise was the inexperienced Hamilton`s acting–though in all truth, acting, in such derring-do drama, consists mostly of running, jumping and chasing the bad guys in autos and other wheeled or winged vehicles. In his few talking scenes he was more than adequate. (One, however, required nine takes before he got it right, but that can happen even to Laurence Olivier.) The natural simplicity of Hamilton`s acting did not surprise Richard Anderson, who plays his usual role of intelligence-agency official as he did in The Six Million Dollar Man. In a perceptive analysis of his craft, Anderson said, “Acting basically is selling. We have to sell a sometimes unbelieveable story. Tony is good at selling. For 10 years, as a model, he had become very good at selling the clothes on his back.”

Hamilton was born in England and adopted, at the age of 2 weeks, by an Australian hero of the RAF, Wing Commander Donald Smith, and his wife, Margaret, a nurse. Taken to Adelaide, Australia, at 3, young Tony grew up on a sheep farm and attended Scotch College (a Presbyterian-run middle and high school), where he was required to wear kilts as part of the school uniform. He also was required to play football, cricket, basketball and many other sports. “Australia is an enlightened country,” says Hamilton, “and we also took ballet, with a thought that it might be unmasculine. In fact, I thought of it not only as artistic but also as the most rugged of the physical activities. In fact, the dancers always beat the `footies,` the football players, in stamina tests. So it was completely natural to me as a chance to get out of Australia, a very complacent country, and see something of the world.”

The Australian Ballet went on tour to Russia and several East European countries, where it was a big hit with a classically based modern ballet called “Gemini.” In Moscow, a ballet photographer named Vladimir Bliocht took 200 extraordinary photos of Hamilton, both in costume and in street clothes, and presented them to the young Australian at the airport when he left. “I saw myself in decent photographs for the first time,” says Hamilton, “and since I was getting tired of the discipline of ballet anyway, I took the pictures to a modeling agent when we got to London.”

And so, the second phase of Hamilton`s career began. He modeled clothes all over Europe, appeared in magazines such as Vogue and GQ, became a favorite subject of such world-famous photographers as Richard Avedon and Bruce Weber, and appeared in TV commercials for products like Close-Up toothpase and Hanes panty hose: “I didn`t wear them. I gaped at women wearing them, and I even tap-danced for Hanes in a Fred Astaire-Ginger Rogers sequence.”

By 1977, Hamilton had tired of modeling and moved to New York. “I had to keep on modeling to pay the rent, but I took acting classes with a good drama coach, Mervyn Nelson. That`s where I first met Jon-Erik Hexum, who was a Nelson student at the same time. Strangely, Jack–as we called him–wanted to be a model, but with his bulky chest and 220 pounds, he was too big. That`s why I was amazed when we both tried out for the part in the ABC movie `Samson & Delilah,` and I got the role. Jack was built more massively, more like a Samson, than I was. I later was told that I was picked because of my Australian accent. I guess Biblical dramas sound silly if they`re spoken in plain American, and some sort of foreign accent makes them more acceptable. That`s the way of Hollywood.”

Late in the afternoon of Friday, Oct. 12, came that tragic accident when Hexum, preparing for a minor scene on 20th Century Fox`s Sound Stage 18, was sitting on a bed on a hotel-room set and reloading the .44 Magnum with blank cartridges. It still has not been explained why he, and not a propmaster, was doing the reloading, but the gun went off close to his head, and the sheer force of the exploding gunpowder drove a section of Hexum`s skull deep into his brain. He was rushed to a nearby hospital in a coma and died, without regaining consciousness, the following Thursday. Hamilton knew about the accident, of course, and was shocked and dismayed by it. He did not know about the cliffhanger drama that went on behind the scenes at 20th Century Fox before it finally involved him.

Terry Allan, one of Cover Up`s top executives, tells the story: “We immediately closed down the set after the accident, hoping that Jon-Erik would survive and return. But the following week, when we were told he was brain dead, we had to go into action to try to save the series. We knew that, unless we found a new male lead, we had two or three weeks at most before CBS would put us on hiatus. We looked everywhere–Los Angeles, New York, even Europe–and a lot of tests were made of possible replacements. CBS didn`t like any of them.

“Nearly three weeks after Jon-Erik`s death, we had a 5 P.M. Tuesday appointment with [programming chief] Harvey Shephard and other CBS brass to look at the screen test of the last 21 candidates. We now were about four days short of being dropped unless we came up with someone–and we didn`t have high hopes. That afternoon, I got the idea of calling Paul Darrow, an executive at Jon-Erik`s modeling agency in New York, to see if he had any ideas. I finally tracked Darrow down in Paris. He said he could think of only one guy who might fit the bill, name of Tony Hamilton. All he knew about him, aside from his modeling, was that he had done a TV-movie called `Samson & Delilah.` I never heard of the picture but I put my secretary to work tracking it down, and finally we found it at ABC. We asked them to send over tape of some of Hamilton`s scenes.

“I looked at the tape and saw this tall, powerful, handsome guy, with an Australian accent. I figured he might be right if we could make him an `outrider.` It would be totally different from the American character played by Jon-Erik. The problem was it was now 4 and the CBS brass were coming in at 5.”

Five came and went and all 21 candidates in the screen tests were turned down by CBS. The network people left. Then Allan called in executive producer Glen Larson and Harris Katleman, president of 20th Century Fox Television, and showed them the Hamilton tape. “Wow!” said Katleman. “Let`s bring him in to talk,” said Larson. Allan got on the phone to Hamilton`s agent. A small hitch. Hamilton was in rehearsal for an NBC TV-movie, “Mirrors,” in which he was playing a macho, woman-chasing male dancer. “Bring him in now,” said Allan.

Hamilton came in. Both Allan and Larson were impressed. He seemed brighter and more self-possessed than most young actors. Larson said to Allan, “Have Tony come here tomorrow to read with Jennifer. I`m going to write a special scene to see if their chemistry matches.” The next day, it was obvious that their chemistry matched. “Call Harvey Shephard at CBS,” said Larson, “and ask him to come over.”

Shephard listened to the reading for a few minutes and said, “Go.”

It may be one of the first times in TV history that a near-defunct series was brought to life again on the basis of nothing on film, nothing on tape–just two people reading a few pages of script in a producer`s office.

Hamilton was elated, but he still had 27 days of unbelievable ordeal ahead of him. “I had to continue in `Mirrors`,” he says, “and begin work in Cover Up the very next morning after the reading with Jennifer. I`d get up at 5 for `Mirrors,` be on that set all day, start work in Cover Up at 7 P.M., work until 2 A.M., and then start the whole cycle over again. A couple of times they had to fly me from one set to another by helicopter. At one point, I called my father in Australia to bitch about this backbreaking schedule. Dad said, “Let me tell you a war story. In the Battle of Britain, I fought the Luftwaffe every day from 3 A.M. until midnight. My valet had to get me up after two hours` sleep. He`d be court-martialed if he didn`t have my signature on his wake-up slip. And that went on for months. So don`t complain, son.` I stopped complaining.”

Today, Hamilton pretty much has settled into his part and Cover Up, once a marginal show, has picked up in the ratings. On the set, Hamilton is eager to learn from everyone–Anderson, O`Neill, the director, the technicians. “That, too, will change,” mused one wiser, older assistant cameraman. Tony is in constant motion while discussing scenes, stretching his legs like a ballet dancer warming up, whirling about, or isometrically expanding his pectoral muscles. In his trailer dressing room, he is different. He listens to classical music, reads Eugene O`Neill and Lillian Hellman plays, and speaks lovingly of his lady friend, Emily Davis, who is a movie/TV production assistant in New York. So exhausting has been Hamilton`s schedule that he has not had time to see her. He spends his weekends recuperating in his West Hollywood apartment. As a conversationalist, Hamilton is a fount of interesting, sometimes revolutionary, ideas. After a fight scene, he says disconsolately, “I always win. Wouldn`t it make me more intriguing as a hero if I were a little more vulnerable and got beat up by the bad guys once in a while?”

Concerning Method-type acting with all its analyzing, he says, “Jennifer does that and I use the simplest techniques possible–but somehow it works out between us. Perhaps I`m so simple in my acting because I`m inexperienced and don`t know any better. The only time I did any Method acting, it was involuntary and maybe the will of God, in Whom I`m beginning to believe more and more. In `Samson & Delilah,` which we shot in Mexico, I came down with Montezuma`s revenge–fever, vomiting, the whole bit. I was so weak when I had to push down the pillars of the temple that I must have looked just like Samson did after losing his hair had made him so weak. Everyone asked me how I managed to pull off that scene and figured I must have talked myself into it. It was the germs or the virus, but I kept my mouth shut and everyone complimented me on my realistic acting.”

Hamilton has made such an impression that Cubby Broccoli, the mogul of the James Bond movies, already has talked with him about becoming the fourth Bond. Anderson is so impressed with the young man that he`s sure it will happen. “And then,” reflects Anderson, “think of the wonderful question in future trivia games: `Which of the James Bonds–Sean Connery, George Lazenby, Roger Moore or Antony Hamilton–began as a ballet dancer?`”

Only in Hollywood.

For more on Antony Hamilton`s life, be sure to check out the Antony Hamilton Uncovered website.