Connery never specifically posed for any shots to be used in any of the title sequences, though images of him as 007 in GOLDFINGER were projected on several different women. George Lazenby, the one-time wonder of ON HER MAJESTY`S SECRET SERVICE, did not have his face shown either, possibly to avoid prematurely branding him as Bond.
It wasn`t until THE SPY WHO LOVED ME that Binder decided to feature a Bond in the credits. He told BONDAGE Magazine #10: “We put Roger in the titles of THE SPY WHO LOVED ME because the song was “Nobody Does It Better”, and it wasn`t a title song, like “Moonraker” or “Diamonds Are Forever”. I thought, why not put Roger in and show him doing all his tricks and show that he does it better than somebody else? That`s how it happened. He liked the idea. We worked a couple of days on the stage and did all of it.” The idea worked, and Roger then became a part of every title sequence from THE SPY WHO LOVED ME all the way through A VIEW TO A KILL.
Timothy Dalton showed up in the titles to LICENCE TO KILL, his sophmore effort. Why the trend that started with THE SPY WHO LOVED ME stopped with THE LIVING DAYLIGHTS, only to start up again with LICENCE TO KILL, is unclear.
Maurice Binder died in 1991, having been the chief architect of all the title sequences up to that point.
In 1995, Daniel Kleinmann got the nod to succeed Binder as the title designer for the Brosnan films. Kleinmann was already well known by the producers; he did the video for Gladys Knight`s song LICENCE TO KILL. Daniel infused the title sequences to GOLDENEYE, TOMORROW NEVER DIES and THE WORLD IS NOT ENOUGH with vibrant, colorful high tech gloss and three dimensional computer graphics but no Pierce Brosnan….except where he slides “inside” the Millennium Dome for the last film’s credits as they start.