If you want a quick, easy and condensed answer it would be because EON had to protect itself from what it felt were shady business practices that could potentially devalue the series; therefore a lawsuit was launched. And even after the new Bond film was given a start date to begin filming, it ended up having to be pushed back six months. The details of this tenuous, nearly seven year journey, would trace their roots back to studio unrest and lack of confidence extended towards License to Kill even before it had opened.

1988-1989
MGM/UA began to have serious concerns about bankrolling Bond films in which they had little creative input. Albert Broccoli had bought United Artists 50% stake in Danjaq in the early 80`s (UA bought the shares in 1975 from Harry Saltzman when he sold his interest in the series and got out of the business of making Bond films) and thus retained 100% total creative control over the direction the series would take. But with the studio facing internal financial problems, they needed more bang for their buck, and were becoming less enthralled with Broccoli`s decision making.

The tension began to manifest itself in the way in which MGM/UA marketed License To Kill, or should we say, didn`t market License To Kill. Bob Peak`s original artwork was scrapped in exchange for a low brow, lowest-common-denominator approach. His painted, “classic” style artwork was traded for a run-of-the-mill computer composite poster that featured Timothy Dalton, Robert Davi, Talisa Soto and Carey Lowell in a rather non-descript pose. The title was changed from the more poignant LICENSE REVOKED to the generic LICENSE TO KILL out of fear that the American audience was too stupid to differentiate a Bond film from a teenage driving flick. With the exception of a guest appearance on MTV by Talisa Soto, both she and Carey Lowell were conspicuously absent from print media, as well as television and radio talk shows to promote the film. It was enough to make Timothy Dalton, in 1989, declare to BONDAGE Magazine #16: “My feeling is this will be the last one. I don`t mean my last one. I mean the end of the whole lot. I don`t speak with any real authority, but it`s sort of a feeling I have. Sorry!”

Dalton probably knew more than he let on, but it was clear even to him that the series was already in danger and this was well before the messy legal action that would explode onto the scene one year later. Creative control issues were merely the beginning of Danjaq`s problems.

1989-1990
The North American box office receipts were abysmal: the film debuted in 4th place in its first weekend, dropped to 7th place in its second weekend and by the third weekend of release fell completely out of the Top 10. North American box office amounted to an underwhelming $34 million dollars (estimated). In August 1990 director John Glen and long time writer Richard Maibaum were unceremoniously dumped from the series. Variety Magazine quoted an anonymous, and apparently uninformed, EON insider as saying Maibaum was a “has-been” who had only contributed dialogue on the recent films.

The current script under development, which was to deal with robots run amok and take place in Scotland, Japan, and Hong Kong, was scrapped. At the same time, the August 8th issue of Variety reported that Cubby Broccoli put Danjaq, the company that holds the rights to the Fleming stories, up for sale and then handed over EON Productions to his daughter, Barbara Broccoli, and step-son Michael G. Wilson (to be fair, Michael and Barbara had been groomed for this responsibility for a long time and in conjunction with Cubby`s fragile health, this was as good a time as any to make a change). The asking price for Danjaq was a reported $200 million dollars, though conservative estimates placed the value nearer at $166 million. MGM/UA considered buying Danjaq, but balked at the steep price tag. Other big name players came and went on the financial scene, such as producer Joel Silver of “Lethal Weapon” fame. He was high on the idea of doing Bond and having his longtime friend and box office champ Mel Gibson play 007. But Silver, like others, found the exclusive distribution deal with MGM/UA too hard to swallow. No one wanted to be committed to a project that was tethered to a sinking studio.

The problems really began to pile up with the proposed merger of MGM/UA and Pathe Communications. Giancarlo Paretti, a corrupt Italian businessman with a long history of bank fraud and worthless checks, ran Pathe. Before Giancarlo even owned MGM/UA, he intended to sell off foreign television rights to the Bond series piecemeal in an effort to finance his takeover. He made outside deals with television networks in France, Spain, Italy, South Korea, and Japan without first consulting Danjaq. A deal with Ted Turner`s cable superstation TBS may have proven the most irksome. In his book “Bond and Beyond”, Tom Soter describes the prevailing attitude at the time towards the TBS deal for “James Bond Wednesdays”: “He (Cubby Broccoli) was angry about the way the previous movies had been sold to television–Ted Turner`s cable superstation TBS was running a Bond movie a week at one point-which Broccoli felt decreased the series value.” The TBS angle would become a side issue in a protracted two-year legal battle. Giancarlo Paretti bought MGM/Pathe on Oct. 22, 1990 for $1.3 billion and two days later signed a deal to sell 860 MGM/UA movie titles to Telecinco, a Spanish TV network. However, two weeks before that he signed a deal to sell 1,200 MGM/UA titles to Forta, another Spanish TV network.

Days before the merger though, Danjaq filed suit to block the deal. At the press junket for the movie GOLDENEYE, Goldeneye Magazine #4 (published by the Ian Fleming Foundation) recorded Michael Wilson`s comments in which he explained their strategic moves:”What happened was that Paretti took over MGM, and he wanted to have a leverage buyout, and we sued in federal court to enjoin him, and we failed, on the basis that if the leverage buyout went forward, that the company would be bankrupt, and four months later they were bankrupt.”

Kirk Kerkorian, who had sold MGM/UA to the Australian Company Qintex, sued over Paretti`s mismanagement. Kerkorian was in turn served with a shareholder lawsuit over his own sales of MGM/UA assets of back catalogue. In 1992, Crédit Lyonnais also brought a lawsuit against Kerkorian, claiming that Kerkorian had left MGM in financial disarray when he sold it to Paretti. Even Blake Edwards jumped in and sued MGM/Pathe over the rights to the Pink Panther series. Danjaq wasn`t the only company whose ties to MGM/Pathe seemed at times to be more of an albatross rather than a blessing.

1992-1993
After two years of litigation and negotiation Mr. Parretti lost control of MGM/Pathe to the French bank Crédit Lyonnais after defaulting on loan repayments in 1992. The French government in turn had to bail out Crédit Lyonnais to the tune of nearly $10 billion dollars. It had invested badly in the entertainment industry, and MGM/Pathe was just one of many bad judgement calls. Some Crédit Lyonnais bankers admitted they took bribes in exchange for overlooking Paretti`s questionable finances. Jean-Michel Raingeard, a spokesman for the Consortium de Realisation, the government company who liquidated Crédit Lyonnais assets, acknowledged: “This loss will be covered by the taxpayers at the end of the year”. Political heads rolled and a French Minister was sacked from his job. A consortium of buyers, led by Kirk Kerkorian, bought back MGM/UA. That deal left the French government, which took over MGM from the Crédit Lyonnais banking group, with roughly $1 billion dollars of losses.

Paretti had dropped out of sight for a while (thus prompting Crédit Lyonnais to declare him in default of his loan obligations) only to resurface in Italian court to answer to security fraud accusations. Paretti was wanted in both Europe and the United States.

In December of 1992 Pathe and Paretti were gone and MGM/Pathe went back to being MGM/UA. While the legal issues had dominated the Bond landscape for the better part of three years, it was now time to return to the issue of producing a new Bond film. By April of 1993 Michael France had been chose to write the new script.

1993-1995
Thinking the first draft would be turned in within twelve weeks, MGM/UA Chairman Alan Ladd proclaimed the project to be on the fast track. But that fast track had a few bumps along the way. France took longer to write the script than was originally expected. After rewrites by Bruce Feirstein, among others, it looked as if the project was all set. Filming was scheduled to begin August 1994 for a summer `95 release. Then, according to press reports at the time, TRUE LIES, Arnold Shwarzenegger`s 1994 film, came along and contained enough action sequence similarities to the current GOLDENEYE script that EON was forced to back off its August 1994 start date, rewrite the storyline and push production to January 1995. On January 16, 1995 principal photography began on GOLDENEYE in Leavesden, England. By the time GOLDENEYE was released in the United States on November 17th, 1995, nearly six and a half years had gone by.

Even if there had never been a single lawsuit filed and Paretti had never entered the picture, it is unlikely that another film would have been immediately made for release in 1991, nor would Dalton have returned to the role. The creative control issues became temporarily dwarfed by the litigation, but when the smoke and dust cleared from all of that, Dalton found himself right back where he started: on the hot seat. John Calley, CEO of MGM/UA in 1994 and 1995, was reportedly adamant that a new Bond be hired for the next film. Dalton was the “Bond of record”, but gracefully bowed out of the role, thus saving Albert Broccoli from having to make the hard call of firing Dalton.

With the success of “Star Wars”, Broccoli instead decided to film the only remaining Fleming title that could use an outer-space concept. (FYI, in the late 1960s EON hired the men responsible for the special effects in the British television series “Thunderbirds” to work on special effects for “Moonraker”. It`s interesting to contemplate what might have been done with Fleming`s novel had it been filmed as the follow-up to “OHMSS”.)

Some people claim that the “Thunderball” end-credits listed “OHMSS” as the next Bond film. It seems that all surviving copies sheer the credits before it gets to this spot. It`s also not clear whether “Dr No” said that Bond would return in “From Russia With Love”.  Some claim it does, others that it doesn`t. “Octopussy” lists “From A View To A Kill” as the next Bond film; the “From” was subsequently dropped. “Octopussy” was the last Bond film to include the next film`s title. Since then, the credit simply reads “James Bond will return”. “License to Kill” was originally promoted as “License Revoked” until a title change by the marketing department.

One of 007Forever`s visitors asked the question about the license plate so we put it out to our Newslektor subscribers to see if they could provide an answer. The general consensus from the Aston Martin experts that responded was that it was a legal reason that kept the producers from using the original license plate number.

Lydia said: “The car is supposed to be the same but they couldn`t use the plate number BMT 216A because of legal reasons.”

Rae Stewart concurs:”The explanation I remember being given for the change of number plate in Goldeneye was that the producers couldn`t use the original for legal reasons.”

DunphBoy007 and Tom Chappell seem to be on the right track, but are off slightly on the details.

DunphBoy007 writes: The “real” reason was that a private collector had bought the original Aston Martin used in Goldfinger, and it was in a private collection, so the producers decided to use a `similar` number plate.

Tom Chappell goes further: “Due to British laws a registration number may only be issued once, in the intervening years between Thunderball and Goldeneye the car may well have been lost or destroyed so the number could not be used, either that or someone made a pretty big goof up in production.”

I think Stuart Basinger gets is correct when he writes: “The licence plate BMT 216A was registered by the owner of the Aston Martin and could not be seen in the film since it is legally a registered licence plate. Even the owner was upset they could not use the plate. They chose to deviate the 6 into a 4.”

DunphBoy007 was right: it was part of a private collection. Tom Chappell was also right: British registration law was at the root of the problem. And Stuart Basinger correctly describes the producers remedy. So there you have it! Now you know what Bond switches license plates.

It`s unneccessary to assume that it was a mistake, and there`s no proof that the writers couldn`t keep track of who had which egg. It all started when 009 stole a fake from Octopussy`s traveling circus, at the time in East Germany. 009 managed to get the egg to the British embassy. MI6 then in turn sent Bond to investigate the matter by first going to Sotheby`s to view the impending auction of the real egg. Bond takes the real egg off the pillow, hides it under the table and replaces it with the fake recovered by 009. The eventual buyer, Kamal Kahn, is described by Jim Fanning as “usually a seller…(of) marginal quality from dubious sources”. In other words, because he usually sells, and does not know what to look for in a buy, the fake should “smoke” [force] him out.

Later, in New Delhi, Bond plays Backgammon with Kamal and shows him the egg as proof he can afford the high stakes game. Here is an interesting point that could be made: Kamal may have thought that Bond was the original thief. Perhaps the thief survived the fall into the river and was back to blackmail Kamal and his organization. This would explain his comments to Octopussy that Bond was `an adventurer with possible blackmail in mind`. In any event, it is quite clear that Kamal believed he had bought the real Faberge Egg at Sothebys and that 007 was in possession of a forgery. At no time did Kamal ever let on that he believed Bond`s egg was anything but the forgery. By the time Kamal had Magda steal the egg from Bond, Bond had Q place a homing transmitter into the minituare carriage of the egg. Even after Kamal saw the transmitter in the rubble of the egg Orlov smashed, Kamal never stated nor implied that he realized Orlov just crushed the real egg.

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So once again, there is nothing to back up the claim that the writers goofed. The storytelling, along with the facts as presented in the film, is consistent with the theory that Kamal, nor Orlov, ever realized the real egg was the one they destroyed.

Harold Jack Bloom was a busy television writer in the 60`s and 70`s. Noteworthy of his body of work was the 1972 television show EMERGENCY. Bloom is suspected of having been commissioned to turn in a draft of You Only Live Twice that the producers ultimately rejected. Roald Dahl speculates as much in a 1980 interview he did with Tom Soter. Soter`s book, BOND AND BEYOND, would eventually get published in 1993.

Dahl credits Bond`s “death” and “burial at sea” to Cubby Broccoli, who suggested that this element be included in Dahl`s draft. But ultimately, Dahl believes it was part of a larger piece of work, turned in by Bloom, that Saltzman and Broccoli were unsatisfied with.

Dahl: “My guess is that it was the idea of Mr. Bloom. They had probably – and hadn`t told me – commissioned a screenplay from him, and it hadn`t been any good, but they picked out that idea and possibly one or two others which they had asked me to put in. So, Bloom had a right to some kind of credit. I never worked with him. The first time I heard of Bloom wanting a share in the credits was after the film had been cut and I was told that there would be a share. I said `Well, there`s no way anyone`s going to share the full credit` There was a fight about that, and then, they gave him what you see.” What he got was “additional story material” credit.

Tom Soter`s full article on Roald Dahl was published in the August 1991 issue of Starlog Magazine.

We assume you mean “who were the faceless actors” to play Blofeld, but for the sake of completeness we`ll list *all* the actors. The decision not to show Blofeld`s face, and just have him pet the white cat, was clever, even brilliant. Oddly, nobody has ever claimed credit for this idea.

“From Russia With Love” (no face) Eric Pohlmann (voice)Anthony Dawson (body; Dawson played Professor Dent in *Doctor No*)
“Thunderball” (no face) Joseph Wiseman (voice; Wiseman played Doctor No in the film of the same name) Anthony Dawson (body)

“You Only Live Twice” Donald Pleasance(face) Note: Jan Werich had been cast to play the part, but fell ill. Donald Pleasance was a last minute replacement.

“On Her Majesty`s Secret Service” Telly Savalas (face)

“Diamonds Are Forever” (Charles Gray (face) (he also played Dikko Henderson in *You Only Live Twice*)

“For Your Eyes Only” John Hollis (no face)

“Never Say Never Again” Max Von Sydow (face)

People often claim that “EON can`t use Blofeld or Spectre because they don`t own the rights to them.” It`s more likely that EON doesn`t want to waste money on litigation over one character and one organization – they probably weighed the pros and cons and decided that it wasn`t worth the hassle. If EON had no right to Blofeld, then the FYEO pre-credit sequence would have been a copyright violation. The films FRWL, TB, YOLT, OHMSS, DAF, might either have to be edited or pulled from distribution (this might be a reason why EON doesn`t want to fight McClory in court over who owns the character).

There are enough details in the FYEO pre-credit sequence to prove that the bald man in the wheelchair is Blofeld. He`s bald, we never see his face, he has an Eastern European accent and he pets a white cat. Who else would it be? Would people who`ve seen all the Bond films have to be told that it was Blofeld? (Since people do realize that it`s Blofeld, this only prejudices EON. To prove his case, McClory, theoretically, only has to produce the alt.fan.James-Bond newsgroup postings where people refer to the character not as that unidentified bald guy, but overwhelmingly as Blofeld.)

Depression, unhappiness, loneliness, painful events, and sorrows should not be given the medication. In this fast world where men have to slog literally for 14 to 16 hrs a day, the stress and tensions build up. To start out, you’ll want to source out a reliable and legitimate online pharmacy. cialis cheap The medicine acts for nearly 36 hours, which means the disorder and then according to that the medicine is proven as the safest drug that alleviates erectile failures and makes impotence impossible. Consider the context of the pre-credit sequence. It begins as Bond puts flowers on his late wife Tracy`s grave. This refers to the Bond film On Her Majesty`s Secret Service. In that film, the villain partly responsible for Tracy`s death, was bald and petted a white cat. It`s largely irrelevant that the FYEO pre-credit sequence doesn`t use the name Blofeld. In some countries, such as Canada and probably the United States and the UK, copying certain characteristics is sufficient to claim copyright infringement. If EON had no right to Blofeld, then they would have known that McClory could sue them in those countries under their respective copyright laws. FYEO would then either have to be edited, or risk being pulled from distribution. (Note that EON has sued and threatened to sue the makers of commercials who use a James Bond like character, even though the name James Bond is never used.)

EON presumably decided that there would be less chance of litigation if they were somewhat vague. EON could probably get an American Judge to rule that they also have the right to use Blofeld and Spectre, if they didn`t mind spending money on litigation. One last point. It seems dubious to claim that only McClory owns Blofeld, when the character also appears in the Fleming novels On Her Majesty`s Secret Service and You Only Live Twice. EON owns the rights to these novels. The 1963 settlement was arranged before You Only Live Twice was published.

Nine directors over the course of twenty Bond films (if you count Never Say Never Again) have been involved. John Glen holds the record for most Bond films directed with 5. Guy Hamilton comes in second with 4 films. Lewis Gilbert and Terrence Young tie for 3rd with 3 films each. Peter Hunt, Irvin Kershner, Martin Campbell, Roger Spottiswoode and Michael Apted are all members of the One Time Only Club (though Apted may return to direct the next Bond film).

Give each of these directors enough time and enough opportunity and they will inevitably direct a disappointing Bond film. Ironically enough, Guy Hamilton directed what is widely considered to be the best Bond film ever: Goldfinger. Ten years later he would direct what would widely be considered the worst Bond film ever: The Man with the Golden Gun.

Lewis Gilbert directed Roger Moore`s highs and lows. He directed Moore to his finest performance in The Spy Who Loved Me, only to turn around and direct Moore in his lowest point as Bond: Moonraker.

John Glen directed every Bond film of the 1980s. He book marked his tenure as Director with a fine effort in FOR YOUR EYES ONLY, and a woeful effort in LICENSE TO KILL.

Irvin Kershner directed the uneven Never Say Never Again amidst script problems and clashes with Connery (he wanted to tell Connery how to portray James Bond). Peter Hunt did an admirable job directing George Lazenby in the box office underperformer ON HER MAJESTY`S SECRET SERVICE but was never asked back.

Dr. No – Terrence Young
From Russia, With Love – Terrence Young
Goldfinger – Guy Hamilton
Thunderball – Terrence Young
You Only Live Twice – Lewis Gilbert
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Diamonds Are Forever – Guy Hamilton
Live and Let Die – Guy Hamilton
The Man With the Golden Gun – Guy Hamilton
The Spy Who Loved Me – Lewis Gilbert
Moonraker – Lewis Gilbert For Your Eyes Only – John Glen
Octopussy – John Glen
Never Say Never Again – Irvin Kershner
A View to a Kill – John Glen
The Living Daylights – John Glen
License to Kill – John Glen
Goldeneye – Martin Campbell
Tomorrow Never Dies – Roger Spottiswoode
The World Is Not Enough – Michael Apted

Well, let’s break it down into two categories: the first category are locations that exist in reality in which James Bond has visited i.e. San Francisco, Venice…. The second category are actual locations that substitute for fictional locations i.e. Jamaica for San Monique or secondary locations that substitute for real locations i.e. The Bahamas substituting for The Mediterranean in The Spy Who Loved Me.

FIRST CATEGORY
The United States [8 cities over the course of 6 films]takes top honors for the most visits. Bond has been to Los Angeles in Moonraker, New York City and New Orleans in Live and Let Die, San Francisco in A View To A Kill, Key West in License to Kill, Miami and Kentucky in Goldfinger, and Las Vegas in Diamonds Are Forever. Los Angeles qualifies as a location in Moonraker since actual film crews went to Los Angeles International airport and did some shooting.

Italy [4] is the second most visited country. It was used in From Russia With Love, The Spy Who Loved Me, Moonraker, and For Your Eyes Only. Venice was used in ‘Russia’ and Moonraker, Cortina was used in For Your Eyes Only and Sardinia, off the coast of Italy, was used in ‘Spy’.

France [3] is the third most visited country both in the first and second categories. It was used in Thunderball and A View to A Kill; Bond visited Monaco in Goldeneye. [see SECOND CATEGORY for more visits]

Other multiple locations:
The Bahamas [2] Thunderball and Never Say Never Again

Germany [2] Bond visited Berlin in Octopussy and Hamburg in Tomorrow Never Dies.

Spain [2] Bond visited Gonzalez’s villa outside of Madrid in For Your Eyes Only (even though technically this scene was filmed in Italy) and Balboa in The World Is Not Enough.

Jamaica [1] Bond goes to Jamaica in Dr.No.

Turkey [2] Bond visits Turkey in From Russia, With Love and The World Is Not Enough.

Switzerland [2] Bond visits this country in Goldfinger and On Her Majesty’s Secret Service.

Thailand [1] Bond visits Bangkok in The Man With The Golden Gun.

England [3] Bond sees action at the Shrublands Health Clinic in Thunderball, Never Say Never Again; gets involved in a boat chase down the Thames in The World Is Not Enough.

China [2] Bond visits Hong Kong in You Only Live Twice and The Man with the Golden Gun.

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SECOND CATEGORY
France [3]…doubles for parts of California in Moonraker (the Drax estate was filmed outside of Paris), Tomorrow Never Dies and The World Is Not Enough (in both TND and TWINE, mountainous ski resorts such as Chamoix doubled for Afghanistan and Khazikstan respectively).

The Bahamas [2] substituted for Sardinia’s underwater shots in The Spy Who Loved Me as well as underwater shots in For Your Eyes Only.

Spain [1] Substituted for the Azerbhijan desert in The World Is Not Enough.

United States …Gainesville, Florida’s swamps and lakes doubled for the Brazilian jungle during the riverboat chase in Moonraker. The mountainous region of Utah doubled for Cuba in Octopussy.

Jamaica [1] doubles as San Monique in Live and Let Die.

Thailand [1] Doubles as Vietnam in The World Is Not Enough.

Austria doubled for Czechoslovakia in The Living Daylights.

Quarzazate (Morocco) doubled for Afghanistan.

Switzerland doubled for Russia in the pre-credits sequence of Goldeneye.

Lebanon was doubled on the Pinewood Soundstage; Canada doubled for Austria in The Spy Who Loved Me and Siberia in A View to A Kill.

Acapulco doubled for Isthmus City, while the waters off Isla Mujeres, Mexico doubled for underwater shots off Key West. Rosarito, Mexico doubled for the underwater shots in Tomorrow Never Dies.

Puerto Rico doubled for Cuba in Goldeneye.

**Bond has traveled to five of the world’s seven continents. The only two he has visited are: Antarctica and Australia. He’s been all over Asia and primarily the United States when he has come to North America (curiously he’s never been to Toronto or Vancouver-Canada). He has traveled only once to South America (Isthmus does not count since it is fictional) and has been to nearly every country in Europe at least once. He’s been to parts of North Africa and South Africa, but never anywhere in between (thus missing beautiful locations such as Kenya, The Congo or Zaire).

Caroline Cossey, other wise known as Tula, was a woman and working runway model by the time she had a small role in “For Your Eyes Only”. In the film, she had no speaking part, and was simply a pool girl enjoying the sun at the villa of Hector Gonzalez. Her claim to fame has been widely exaggerated by the press and entertainment media.

Caroline, or rather Barry, in her teen years physically matured as any other young man. Barry had the normal amount of facial/body hair for a 16 year old and functioning genitalia. Barry most likely had less testoserone and more estrogen then average but this is not abnormal.

Caroline`s being born a man was certainly a mistake by nature but the exact cause of transexuality is still not known by medicine – only theories. What is known is that it causes extreme emotional pain in the affected person. It`s not any different from many diseases where the cause is not known but the treatment relieves the suffering.

Caroline`s offical position is that she has a genetic abnormality called Mosaicism (also known as Klienfelders Syndrome). She has had genetic testing which has proven she indeed has this abnormality.

What happens is occassionaly extra `X` chromosones get pasted on. Some of her sex chromosones are `XY` but others are `XXY` and XXXY`. This syndrome, in more severe forms, can cause mental retardation. The medical community is not convinced that this necessarily causes transexuality and many people live life as normal males.

This is NOT the same as being a 100% `XXY` she-male(such as several athletes in the Olympics have been). It is not the same as being a hermaphrodite either (both sets of sex organs).

The reason Caroline is so attractive is because she is a `first wave` transitioner. First Wave transitioners are transexuals who start female hormones in their school years(age 15-25). These tend to be the beautiful transexuals because the harsher male characteristics(facial hair, thick skin, thick big nose, thinning hair, prominent browbone, etc) have not happened. Yet, they tend to have the positive male characteristics of being tall and slender (think of how Super Models look). They also age very gracefully.

Transexualism falls in the realm of an actual medical syndrome which is why it is eventually treated surgically. It sharply differs from being gay, which is a preference, or transvestism, which is a fetish or hobby.

Caroline is not making any public appearances or giving interviews currently. She still models and runs a business in Atlanta. The early 1990s were so tramatic for her that she is enjoying her life with her husband. She is 45 years old now (her handsome husband is 35 years old).

The “mayor`s office” of Atlanta gave Caroline Cossey the key to the city. The mayor later recieved some protests and he reponded by saying the office gave her the key without his authority. In reality he wanted to appease the gay community by giving her the key but still wanted an escape hatch in case the conservative community complained. And they did.

At one point Caroline wanted to open a night club in Atlanta similar to the Lido in Paris. This never happened. She is a private person and gets tired of the exposure.

Desmond Llewelyn has what may stand always as the most appearances. As “Q”, he appeared in 17 films.

In descending order: Lois Maxwell (13)
Bernard Lee (11)
Roger Moore (7)
Sean Connery (7)
Geoffrey Keen (6)
Walter Gotell (6)
Robert Brown (5)
Judi Dench (3)
Samantha Bond (3)
Caroline Bliss (2)
Albert Moses (2)
Jeremy Bulloch (2)
Martine Beswick (2)
Maud Adams (2)
Colin Salmon (2)
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Robbie Coltrane (2)
Valerie Leon (2)

Valerie Leon appeared in two Bond films. In The Spy Who Loved Me she played the bizarre hotel desk clerk in the Sardinia hotel that Bond and XXX stay in. Never Say Never Again found Valerie as a fisherwoman who `catches Bond later`.

Albert Moses played both Sadruddin in OCTOPUSSY and a bartender at the Mojave Club in THE SPY WHO LOVED ME.

Colin Salmon played Charles Robinson in TOMORROW NEVER DIES and THE WORLD IS NOT ENOUGH, while Michael Kitchens plays Tanner in GOLDENEYE and THE WORLD IS NOT ENOUGH.

Maud Adams was in both THE MAN WITH THE GOLDEN GUN and OCTOPUSSY. She also made a “blink-if-you-miss-her” appearance on the trolley car in A VIEW TO A KILL.

Jeremy Bulloch played Smithers, Q`s demolition assistant in FOR YOUR EYES ONLY and OCTOPUSSY. Rumor has it that two different Jeremy Bullochs played the same role, but we fail to see it.

Martine Beswick played a gypsy woman in FROM RUSSIA, WITH LOVE and Paula in THUNDERBALL.

There are others if you watch very closely…!

One of the reasons many have given for Desmond`s disappearing act in Live and Let Die is that the producers had wished to downplay the ever increasing reliance on gadgets in the films, and thus kept Llewelyn from appearing. Logically, that does not make very much sense, considering Bond uses an inflatable pellet gun and a buzzsaw/magnetic wrist watch.

Desmond answered the question in the July 1983 issue of Starlog Magazine: “Since I first appeared as Q, I`ve worked in all of the Bond films except Live and Let Die. When that film unit went to New Orleans on location, I was contractually involved in a weekly TV series and couldn`t leave England.”

Actually, four times. In “Live And Let Die” (when Bond checks into his hotel), “The Spy Who Loved Me” (when he talks to Anya in Kalba`s It’s time to recover the spice of your love life. ED is just a condition when a man does not gain erections sufficient enough for satisfactory physical relation. Gone are the days when people actually used to make us do this exercises to punish us for misbehavior. These discomfort will have negative impact on the client too on the off chance that it will bring with legitimate way. restaurant), “For Your Eyes Only” (in the pre-credit sequence), and in “Licence To Kill” (just after Bond has left Felix and Della`s place). They were married, of course, in “On Her Majesty`s Secret Service”.

“Bond removes his parachute harness and turns to find the decidedly unpleasant barrel of a pistol thrust against his temple. Mi Wai tells him to keep his hands in sight as she speaks into a small hand held radio. In a few moments Bond hears the distinctive beat of a helicopter…Mi Wai prods Bond forward…he sees the insignia of the Chinese Red Army on the side of the helicopter.”

What`s this? An old Bond story? In the present tense? At first glance, these excerpts sound like sentences from Colonel Sun but they actually form part of a treatment that nearly became the script for a third Timothy Dalton Bond film. Yes, it nearly did happen, and it`s a fascinating but underexplored aspect of the world`s most famous secret agent.

Not many fans realize how advanced the plans were for Bond 17 in 1989-90. We can pick up some really good clues on how the film would have taken shape from a little known outline treatment written by Michael G. Wilson and Alfonse Ruggiero. This was completed in May 1990 and, although it is not a full script, it contained a detailed outline story with descriptions of locations, key characters and plot concepts.

In August 1990, Broccoli decided to make some changes. Variety called it a “bloodless coup”, but this “bloodless coup” resulted in John Glen and Richard Maibaum being fired. Maibaum was the Roger Moore of the writing team; too old for the job and had over extended his stay. However, the loyalty of Cubby Broccoli is the stuff of legend, so the pressure from MGM/UA must have been extreme for him to take such drastic measures. Insult to injury was added when an “unnamed” spin-doctor inside EON implied to Variety that Maibaum was a “has-been”.

The London Daily Express reported that Broccoli was looking at Ted Kotcheff and John Landis as possible directors for the film. Kotcheff directed Rambo: First Blood and John Landis had filmed, among many projects, Animal House and the ill-fated 1982 Twilight Zone: The Movie, which resulted in the death of actor Vic Morrow and two children.

At times, word leaked out about the status of the script and depending upon when you heard it, the details were slightly different, though the essence remained the same. Early indications were that “the plot involved terrorists who want to stage a nuclear meltdown and industrialists who want to keep Hong Kong a capitalist stronghold” according to Tom Soter`s 1993 book Bond and Beyond. The treatment also brings in an ally for Bond: Denholm Crisp, an agent only 5 years from retirement (shades of Lethal Weapon?).

At one point in late 1990 Broccoli claimed that the next Bond film would be shooting in Hong Kong in early 1991 for a fall `91 release. Broccoli wanted to revise the treatment and considered writer-director John Byrum and screenwriters William and Gloria Huyck for the position. The thought that Broccoli even considered the Huyck`s sends shivers down the spine. They wrote Howard the Duck. Need we say more?

As envisaged in 1990, Dalton`s third outing, as 007 would have entailed a film moving in the realistic LTK direction but brimming over with ambitious high-tech concepts. Wilson and Ruggiero set out an outline using robotic designs and advanced electronic apparatus to give the film a scientific backdrop similar to some of the Connery and Moore films. At the beginning of the treatment there was an intriguing preface saying that the “robotic devices” referred to in the outline were “complex and exotic machines designed for specific tasks” and they would be designed “especially for the film for maximum and dramatic and visual impact.”

The opening sequence was set in a chemical weapons laboratory in Scotland and involved technicians performing tests with robotic devices. Suddenly one of the robotic machines would run amok and the building would explode. After a “bitter debate” in the House of Commons, the Prime Minister would be seen being questioned about the explosion and he would assure the House that the “full resources” of the Government were being used to investigate the incident. Enter 007 who, in the treatment, is summoned to HQ and M`s office. He meets his boss and Michael Yupland (also referred to as Nigel Yupland in a different draft), “a rising star in the Ministry of Defence”. Yupland has “no love for the double o section” and wanted to close the section down because of the end of the Cold War. A briefing for 007 follows:

A week earlier, a letter was received, threatening destruction of a chemical weapons testing plant in Scotland. It seemed like a prank, but only the previous day the laboratory had been destroyed (i.e. the opening sequence in Wilson and Ruggiero`s treatment). A second letter received that very morning threatened a serious incident in seventy-two hours at a Government base in Hong Kong (remember, this is 1990!). The only clue is that over the last six months there has been a rash of break-ins to high-tech government facilities. Bond is shown a blurred picture from a videotape at the Scottish plant, and he recruits Q to start work on reconstructing the image. The figure is revealed as Connie Webb, “a beautiful American adventuress in her early 30s.” The treatment gives some background about Webb. She was the only daughter of a master cat burglar and was recruited by the CIA to penetrate high security buildings to plant bugs and gather intelligence. Surprise, surprise, Bond is given the task of putting her under surveillance to find out whom she is working for. Interestingly, the treatment describes Q as allowing Bond to have his old Aston Martin DB5 back after Yupland ordered him (Q) to destory it. Yupland proclaimed: “The cowboy days are over”. The Aston would later feature in an action scene where Bond goes over a cliff but parachutes to safety by using the Martin`s ejector seat.

A specially designed antenna was attached to the bottom. In case of survival, recovery is slow, often taking more than several weeks or months. The condition has emerged as prevalent issue and targeted about 50% men in the world. The medicine will work effectively if you have a light diet. The rest of the treatment fleshes out the remaining story. Connie Webb has been breaking into various facilities to alter the controls on robotic apparatus and one scene involves her breaking into Kohoni Industries in Tokyo. She alters a robot in a crate that is destined for Nanking, China. She is discovered by the Kohoni Brothers, “two enormous Japanese brothers”, who are the heads of Kohoni Industrial Empire. She manages to escape; showing the skills handed down by her father.

While in Tokyo, Bond makes contact with Webb by booking into the same Japanese ski resort she is staying at. One scene envisaged by Wilson and Ruggiero describes Webb skiing down a mountain and Bond dropping from a helicopter to ski after her (sound familiar?). They challenge each other on the slopes with heart stopping stunts. After overstretching herself, Webb has an accident and is buried under a wall of snow. Naturally, our hero rescues her (shades of Bond and Elektra in The World Is Not Enough?)

There then follows a series of adventures involving Webb, Bond and the Kohoni Brothers. We are also introduced to the main villain, Sir Henry Lee Ching, “a brilliant and handsome thirty year old British Chinese entrepreneur” who, in traditional Bond sense, is a dab hand at science and electronic circuits and is also nicely demented. Sir Henry has a habit of arranging accidents at nuclear plants and demonstrates this by having a robotic device run amok at a Chinese atomic plant in Nanking. Using a combination of locations in Japan, Hong Kong and China, the treatment goes on to describe a tale of cross and double cross, involving microchips and robotic technology.

The main point to Wilson and Ruggiero`s treatment for Bond 17 is that Sir Henry wants Britain to withdraw from Hong Kong; his high tech empire has manufactured critical components for all navigation, communication, weapon and missile guidance systems in the world. With his expertise in electronics, Sir Henry plots to unleash a computer virus that can paralyze every military and commercial unit in the world. This power will be directed against Britain if his demands are not met. The climax of the treatment involves Bond putting a stop to this evil plan. Bond is led to Sir Henry`s base of operations through the sewer system under Hong Kong and gains access to the building via a waste pipe. There follows a classic confrontation between Bond and Sir Henry. Sir Henry is eventually killed when Bond turns a welding torch in his face.

Had MGM/UA not gone into financial trouble, and had EON not had to fight a legal battle of their own, Dalton would have gone on to film this as his third Bond movie in 1990 for a summer 1991 release.

Here are some more factors known about the proposed film:

The title was alleged to be The Property Of A Lady (a Fleming title but this is highly doubtful)
Locations included Hong Kong and perhaps Vancouver, British Columbia (depending upon which outline you read)
It was Disney`s IMAGINEERING division that was developing the robots.
Variety had reported that Anthony Hopkins was in talks to play the villain (yes, his name did come up again for GE and TND, but remember that Hopkins and Dalton have a relationship, they both debuted in THE LION IN WINTER)
Whoopi Goldberg was interested in playing a villainness (She was dating Dalton at the time).
It`s tough to make a critical assessment of a movie that`s never been made, but in retrospect, perhaps the fact that this film never got made is not such a bad thing. It doesn`t read particularly well and seems like a strong departure from the style of Bond film making that Dalton seemed comfortable with. Had this movie come out and bombed, it could have branded Dalton`s tenure a failure, rather than allowing a big question mark to hang over his reign as it still does today.

007Forever would like to thank Kenny Smith and Steve Woodbridge of Universal Exports Magazine for contributing to this article. Parts of Missing In Action were first printed in Universal Exports Magazine Issue Eight. Additional research provided by Nicholas Kincaid, Richard Ashton and Tom Soter of the 1993 book Bond and Beyond.

“My agent told me, ‘If you take that role you’ll never work again’. But what movie could you do that they’d still be interviewing you for 20 years later?”—Lynn-Holly Johnson on her role as Bibi Dahl in FOR YOUR EYES ONLY. (TV GUIDE 11/13-19/1999)

“I’ve always said that if I never work again because I played a Bond girl, then I probably was never going to work again anyway.”—Denise Richards on taking the role of Dr. Christmas Jones in THE WORLD IS NOT ENOUGH (Entertainment Weekly 11/19/99)

They have been socialites, assassins, pilots, mistresses, secret agents, smugglers, tarot-card readers, geologists, cellists, computer programmers, nuclear physicists and in some cases: unemployed. They are Bond Girls. For decades they have been admired, elevated, loved, sometimes scorned but in every case misunderstood. Why is it that the women who portray them seem to disappear off the face of the earth? Are Bond Girls doomed to a post-007 life of ignominy? Or is the myth that Bond Girls are cursed really just a myth and nothing more?

For decades the Bond Girls have gained a reputation as being chronically unemployable. For some, being a Bond Girl was considered the “kiss of death”, and many an agent warned his client not to take the role. Over time Bond Girls were considered to be cursed, as it seemed no actress went on to become a major star after being prominently featured alongside 007. How could this be? How could some of the most beautiful actresses on the planet not catapult to stardom after starring in such a high profile project as the James Bond films? To be fair, a number of Bond actresses have gone the low-budget, straight-to-video/cable movie route, but it hasn’t always been by choice. In her column “Bond Girls: Only Diamonds Are Forever” at film.com, writer Moira Macdonald reopened the debate, but missed several major reasons why Bond Girls have it so tough. And with some Girls, there is more than one reason why sustained, big screen success has eluded them.

EUROCENTRIST ATTITUDES
To be blunt, the number one reason why many of the Bond Girls have not gone on to have major careers in Hollywood is because so many of them aren’t English/American. Mie Hama, Karen Dor, Papillon Soo-Soo, Daniela Bianchi and Claudine Auger, to name just a few, have all run up against the ethnic brick wall. Hama was a Japanese actress, Dor was German, Soo-Soo and Auger were French, and Bianchi is Italian. American actresses find it tough enough to break into Hollywood. Why would foreign actresses find it any easier?

That is assuming, of course, that becoming a Bond Girl automatically means the actress wants to become a huge star or even a Hollywood celebrity. It’s very narrow-minded thinking to automatically assume that an actress isn’t a success simply because she’s not doing Hollywood blockbuster films. Many of the Bond Girls have gone on to have successful careers in their native countries (Carole Bouquet-France), while others chose not to pursue an acting career at all(Daniela Bianchi-Italy, her role in “Operation Kid Brother” notwithstanding). Some were models who only wanted the temporary spotlight, quite happy to fade into the background once their movie had premiered. Just because you aren’t working in Hollywood doesn’t mean you aren’t successful. Believe it or not, the entertainment industry does reach beyond Southern California.

Izabella Scorupco (Natalya-Goldeneye) is only the latest example of a Bond Girl hitting the ethnic brick wall, yet she’s part survivor, part victim. Scorupco is not only an exotic beauty (she has both Polish and Italian blood in her) but she’s an extremely talented actress. If the theory goes that Bond Girls simply can’t act and therefore are never able to get good work post-Bond, a theory Ms. Macdonald herself supports, then why has Scorupco found it so difficult to find work? Think I’m making too much out of this? Consider the following: Izabella’s new movie, “Vertical Limit” (which co-starts Chris O’Donnell and Bill Paxton), is her first big budget action film since 1995’s GOLDENEYE; it should be her second. Director Martin Campbell specifically requested Scorupco for the role of Elena Montero in his 1998 hit film MASK OF ZORRO. Campbell was overruled by studio execs and told to use Catherine Zeta-Jones, another relatively unknown actress at the time. Don’t let the name Zeta-Jones fool you. Catherine is a Welsh actress. She was no more suited for the part than Izabella was, yet Zeta-Jones was “English” and therefore got the greater consideration for the role (which was, ironically, that of a Mexican woman).

Then there is Michelle Yeoh. While critical reaction to TOMORROW NEVER DIES was mixed, there was almost universal praise for her role as secret agent Wai Lin. Immediately after the release of `Dies`, MGM/UA began developing a comedy/action film to star Yeoh and there was even talk of the Wai Lin character being spun off into her own series of films. So what happened? In typical American fashion, Yeoh got left behind so that studios could concentrate on other “Asian Invasion” stars such as Jackie Chan, Jet Li, Sammo Hung and Chow Yung-Fat. In other words, MEN.

Yeoh has had plenty of work since `Dies`, but it hasn`t all been film work. She`s been digitized for the Tomorrow Never Dies videogame for PlayStation, endorsed L`Oreal make up products and modeled Anne Klein`s fall line of clothing. Her next film, CROUCHING TIGER, HIDDEN DRAGON is her first big film since TOMORROW NEVER DIES, yet look who is in it: Chow Yung-Fat, with Ang Lee directing. It took a male co-star and a male director, both of whom are Asian, to get the film off the ground. If Yeoh ever waits for Hollywood to find the right vehicle to showcase her talents, she`ll always be waiting. Hollywood can barely figure out what to do with American actresses i.e. white actresses, so to expect them to think globally is almost an illusion.

But even if you are American, that’s still no guarantee you’ll get your foot in the door to other film projects, especially if you are black. Trina Parks (Thumper-Diamonds Are Forever) and Gloria Hendry (Rosie Carver-Live and Let Die) represented the first appearance of any black actresses in the Bond series. Parks starred opposite Connery in 1971, and while Connery’s Bond acknowledged what a tasty treat Thumper would make, there was no kiss or other physical romantic interaction between the two. Bond wouldn’t get physical with a black woman until the next film, Live and Let Die (1973). After Mrs. Hendry’s performance, there would be a dearth of black actresses in Bond films until 1985’s A VIEW TO A KILL. For Parks and Hendry, they simply came of age as actresses in an era that still had yet to figure out how to use black talent. ‘Diamonds’ and ‘Let Die’ came out at the end of the Cultural Revolution and civil rights movements that marked the 60’s, but the 70’s would not be much of an improvement. It would take another decade or more before black talent would be able to command leading or supporting roles in mainstream Hollywood fare. Today, the casting of Halle Berry as Kurt Russell’s love interest in EXECUTIVE DECISION or Thandie Newton as Tom Cruise’s love interest in MISSION: IMPOSSIBLE 2 barely raises an eyebrow, but it took actresses like Mrs. Hendry to break the racial barrier in a Bond film during a time when the world might still have not felt ready for it.

When you think about big, A-list female movie stars that are known all over the world, only a few come to mind. Right now that list would include Julia Roberts, Sharon Stone, Meg Ryan, Sigourney Weaver and Catherine Zeta-Jones to name just a few. In the past that list included Sophia Loren, Faye Dunaway, Racquel Welch, Bette Davis, Elizabeth Taylor and of course Marilyn Monroe. Notice that most, if not all, the biggest actresses in show business are American women. The world loves them. We export them to other countries and the men go wild. But how willing are Americans to embrace the women of other countries? When Pamela Anderson washed up on the shores of Cannes five years ago to promote BARB WIRE, she created a media firestorm by doing little more than wearing a tight black bustier and leather pants. Conversely, when French actress Sophie Marceau, extremely talented and equally as beautiful, came to America to promote LOST AND FOUND and THE WORLD IS NOT ENOUGH, she landed not with a bang, but a whimper. American studio heads love to sell and exploit American women to other countries, but are unwilling to take a chance on a similarly beautiful, talented, foreign actress.

The four most visible Bond Girls at the moment are Kim Basinger, Jane Seymour, Tanya Roberts and Carey Lowell. What do they all have in common? They are American/English. Ms. Macdonald, in her column, discounts Basinger as a legitimate Bond Girl since her film, NEVER SAY NEVER AGAIN, wasn’t produced by MGM/UA and is therefore not “official”. If you discount Mrs. Basinger, you also discount her 1998 Oscar for Best Supporting Actress.

Jane Seymour found post-Bond success in such films as LASSITTER and SOMEWHERE IN TIME, and television work such as BATTLESTAR GALACTICA and DR.QUINN: MEDICINE WOMAN. Tanya Roberts has made her comeback in the hit television series THAT 70’S SHOW (and audiences are laughing with her, not at her, as opposed to her work in A VIEW TO A KILL). Carey Lowell followed up LICENSE TO KILL with THE GUARDIAN, a turn as a spokeswoman/model for L`Oreal and later, a two year stint on the highly acclaimed NBC show LAW AND ORDER (a show she chose to leave in order to raise a family with Richard Gere).

Lowell wasn’t the only one to take a break from acting in order to take care of a family. Barbara Bach (Anya-The Spy Who Loved Me) retired from acting in order to help herself maintain sobriety from drugs and alcohol and to support her husband’s road to recovery as well (she’s married to ex-Beatles Ringo Starr). Teri Hatcher (Paris-Tomorrow Never Dies) took time off from acting to raise a new son with husband Jon Tenney. In other words, not every actress who has played a Bond Girl feels the need to be a superstar. Some things in life are more important, and these actresses are showing what their priorities are.

EQUAL PAY FOR EQUAL WORK-NOT
The second biggest reason why Bond Girl careers have not shot off at a clip comparable to their contemporaries is because for the longest time Hollywood simply didn’t care about womens roles. Not that they care much now, but it hasn’t been until the past five years or less that actresses’ salary rates caught up with men. An A-list star such as Julia Roberts can now routinely command $20 million dollars a picture. Yet in the 60’s, 70’s and even the 80’s, Bond Girls as well as your normal, routine actress could never dream of earning that much money. Men always made the higher salaries because it was expected that the actors were what the audience came to see, not the actresses.

And let’s not forget the kind of attitudes that the Bond Girls had to put up with from the men. Despite the Cultural Revolution of the 60’s, women were still regarded as little more than sex objects (and though that hasn’t changed much even in the 90’s, women now have greater control over their image and can choose to or not to exploit their sexuality). They weren’t expected to have successful careers. Their identities were supposed to be formulated and cemented through their relationships with men. The 60’s were the height of hedonistic lifestyles, perfectly personified by the literary and film versions of James Bond, as well as the pages of Playboy Magazine. Women weren’t expected to be studio CEO’s, directors or even producers. No, the 60’s were a shagadellic era of free love, free sex, drugs and rock ‘n roll baby! The women were just supposed to come along for the ride. They weren’t taken very seriously.

Those perceptions have changed somewhat, as women break out from the traditional “chick flick” genre and move into more male dominated categories such as action. But even though women have tried to break into big budget, mainstream action flicks, the results have been less than enthralling. POINT OF NO RETURN, ALIEN RESURRECTION and THE LONG KISS GOODNIGHT failed to motivate moviegoers because women generally prefer drama over action and most men, though loathe to admit it, are intimidated by women with a gun. For all the talk about how women are getting more control over their careers, the most talked about female roles in the 90`s were Sharon Stone`s Catherine Trammell in BASIC INSTINCT, Demi Moore in STRIPTEASE and Elizabeth Berkley in SHOWGIRLS. Michelle Pfeiffer won critical praise for her role as Catwoman in BATMAN RETURNS; an entire series of Catwoman films was in development. And yet even with Michelle Pfeiffer`s considerable star power, she was unable to get the project through. If an established Hollywood veteran finds it difficult to get a series made out of a popular character, what chance does an outsider, a foreign actress, have of getting a break in Hollywood?

Even as things have gotten better for actresses in general, there are still complaints that “there aren’t enough good roles written for women” these days. In 1993, The Academy of Motion Pictures, Arts and Sciences found it extremely difficult to put together a list of five nominations for Best Actress in what was dubbed as a year in which the Academy paid tribute to women in film. Bond Girl roles are an entirely different breed of role, yet they are unfairly held up to the same standards as other actresses who themselves find it difficult getting “real work”. If actresses find it tough today to get good roles, just imagine what it was like in 1963, when no one expected much more out of you than to stand over an air duct and let your dress fly up over your platinum blonde wig. Hollywood didn`t reward women for being tough like men, smart like men or brave like men.

UNREALISTIC EXPECTATIONS
It’s the press that created the “Curse of the Bond Girls” and it’s the press that keeps it going. It’s become such an urban legend that every new Bond Girl, while doing publicity for her film, feels the need to explain why her character is not just some bimbo on Bond’s arm. It’s not enough anymore for an actress to simply explain her role in relationship to the rest of the film. She has to distinguish and differentiate herself from the Bond Girls that have come before her.

Look at the way the role of the Bond Girl has evolved over the years. DR.NO gave us Honey Ryder, a naïve island local who lived off the land. The film also gave us Sylvia Trench, the social climbing casino trawler who ingratiates herself into Bond’s presence by wearing his pajama top. Fast-forward 37 years. THE WORLD IS NOT ENOUGH gives us two very different portrayals of Bond Girls. One is an International Nuclear Physicist while the other heads up the world’s largest oil company (though she killed her father to get that position). As the role of women changed in modern day society, so did the portrayal of the Bond Girls.

The BatWomen, Kim Basinger, Michelle Pfeiffer, Nicole Kidman and Uma Thurman, have all found steady work since their respective films. Why? Because they were cast as already established actresses. Not so with Bond Girls. Many get picked out of virtual anonymity and then thrust into the spotlight of a guaranteed blockbuster. Do you have any idea how difficult it is to replicate that kind of feat?

Still, the perception that all Bond Girls were failures is unfortunate; as many went on to do a wide variety of work.

Lois Chiles (Holly-Moonraker) followed up MOONRAKER with a two year stint on DALLAS, playing J.R. Ewing’s nemesis Holly Harwood, as well as a southern belle in the Alan Alda comedy SWEET LIBERTY. Barbara Carerra (Fatima Blush-Never Say Never Again) also followed up her role as Bond Girl with a one year stint on DALLAS, playing the devious Angelica Nero.

Maryam D’abo (Kara-The Living Daylights) went straight from starring in THE LIVING DAYLIGHTS to starring in the very successful television mini-series SOMETHING IS OUT THERE. When NBC tried to turn the miniseries into a regular television series, it tanked. D’abo has continued to work in small budget pictures and on LIFETIME-TV movies of the week.

Diana Rigg (Tracy-On Her Majesty’s Secret Service) went on to do a variety of stage and screen work, including hosting PBS’ Mystery Theater Series.

Jill St. John (Tiffany-Diamonds Are Forever) went on to become a correspondent for the ABC-TV show GOOD MORNING AMERICA, as well as a celebrated cook book author. She retired from acting to be with her husband, Robert Wagner.

But to hear the press tell it, these women were failures who fell off the earth after doing Bond. Jane Seymour told TV Guide: “I would lose roles. Right after I was a Bond Girl, I went back to what I loved, theater. I did all the classics. Got some very good reviews. But the press made out like I was a failure because I was earning no money. I chose to do it because I did not want to run three paces behind the man with the gun anymore.”

Lois Chiles had a similar experience: “I went off afterward to do ‘Cat on a Hot Tin Roof’ and there was an article in the L.A. Times basically saying “Poor pitiful her.” But now it’s OK to be a Bond Girl.”

But does anyone have the same expectations for the actresses of other high profile movie series? Does anyone ponder why RAIDERS OF THE LOST ARK didn’t make a bigger star out of Karen Allen? Why ‘TEMPLE OF DOOM’ didn’t do more for Kate Capshaw (other than help her marry Hollywood’s most powerful director, thus securing her a lifetime of work?)? Why INDIANA JONES AND THE LAST CRUSADE didn’t make Allison Doody a household name? Does anyone stop to ask why neither Margo Kidder nor Annette O’Toole became superstars after appearing in the SUPERMAN films? Does anyone question why Carrie Fisher never parlayed the success of the STAR WARS films into a bigger career in front of the camera?

The fact is, the type of actress that wins an Oscar is usually the type of actress that would never qualify to play a Bond Girl in the first place. Most people will forget who won the Oscar for Best Actress in 1993, but you mention the name Pussy Galore and people instantly know who you are talking about.

THAT WAS THEN, THIS IS NOW
Today’s modern Bond Girl doesn’t necessarily carry the same baggage as her “sisters” did many films before. Feminists don’t criticize Bond like they used to, the Catholic Church doesn’t condemn Bond to hell like they once did, and women are taken a bit more seriously in Hollywood these days.

Famke Janssen is leading the pack of post-modern Bond Girls refusing to give in to some silly myth. She’s starred in a number of films after GOLDENEYE, such as DEEP RISING, ROUNDERS, and now the X-MEN. If she was supposed to crawl up in a hole somewhere and be ignored by Hollywood, someone forgot to tell her.

Izabella Scorupco returns to theaters December 8th, 2000 in the action thriller VERTICAL LIMIT. Denise Richards stars with Matt Damon and Ben Affleck in the comedy THE THIRD WHEEL, and then appears opposite David Boreanz in VALENTINE. Michelle Yeoh will soon be seen with Chow Yun-Fat in CROUCHING TIGER, HIDDEN DRAGON. Sophie Marceau has chosen to work mostly in French cinema since doing THE WORLD IS NOT ENOUGH, while Teri Hatcher has come back into acting, this time to be the spokeswoman for Radio Shack as well as a co-starring role opposite Tom Selleck in RUNNING MATE.

Failure is all a matter of perception. Not every Bond Girl has had the successful career that Jane Seymour or Kim Basinger have had. But then again, not every Bond Girl has wanted that. Some have valued personal privacy and fulfillment with family to be more important than trying to top the role of a lifetime. Being a Bond Girl doesn’t automatically make you a big star. It can open doors, it can familiarize people with your name, but ultimately it is the actress that makes or breaks her own career. Being a Bond Girl won’t automatically send your career down the toilet either (regardless of how bad your performance is). The fact is, being a Bond Girl is a lot like being crowned Miss Universe. You get a lot of perks, recognition, publicity, fame, money (sometimes) as well as the thrill of living your life in a Bond adventure for 6 months of filming. You hold the title of current reigning Bond Girl until the next actress is cast for a new film and you hand over your crown and you get back on with life. Being a Bond Girl isn’t a make or break proposition, but it’s good work if you can get it.

All the official Bond film directors were essentially British until recent years. However, Terence Young was born in Shanghai, Guy Hamilton in Paris, France, Martin Campbell in New Zealand, and Roger Spottiswoode in Canada. Irvin Kersher (“Never Say Never Again”) and John Huston (*Casino Royale*) are Americans. All the other “Casino Royale” directors were British.

Richard Maibaum, who wrote most of the Bond films, was American. So too are Tom Mankiewicz, Lorenzo Semple, Michael France, Bruce Feirstein, and Kevin Wade (an uncredited writer on “Goldeneye”).
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The following are British: Roald Dahl, Christopher Wood, George MacDonald Fraser, Jeffrey Caine, Neil Purvis and Robert Wade. Among the minor writers, Johanna Harwood, Berkley Mather, Wolf Mankowitz, Paul Dehn, John Hopkins, Simon Raven, Dick Clement and Ian Le Frenais are also British.

The January 5th, 1968 issue of the “London Times” reported that a film bio of Ian Fleming`s life was in the works. Producer [and presumably director] Michael Truman intended to show “the seemingly schizophrenic split in Fleming`s mind: Fleming was goaded on by James Bond, who finally killed him.” One actor (not yet cast) would play Fleming and Bond. Fleming would age from 30 to 56.

Screenwriter Men in the age group of 30 usually suffer from low libido due to lower levels of testosterone result in sexual weakness. Medical science and cialis generico canada great endeavors of scientists has rendered a medical solution of men’s erection problem, known as erectile dysfunction. Booster capsules: A man can get back his potency once he regains regular health. tadalafil without prescriptions When a woman chooses termination of pregnancy, what she has to face is more than the loss of a baby. Jack Whittingham, who adapted John Pearson`s book “The Life Of Ian Fleming”, visualized split screen technique with two characters doing scenes together. Fleming`s former secretary Beryl Griffie-Williams acted as adviser while Whittingham wrote the first draft at his home in Malta which is strange because Whittingham was Ian Fleming and Kevin McClory`s writing partner on the ill-fated Thunderball project; Whittingham issued his own writ for copyright infringement after McClory won, but Fleming died shortly after.

Surprisingly enough, out of six different Bonds, only three have had their face shown in the credits. Those three are: Roger Moore, Daniel Craig and Timothy Dalton.

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.

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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.

Albert Broccoli and Lewis Gilbert can supposedly be seen on the piazza during the Gondola chase in “Moonraker”. Peter Hunt has a brief cameo in the “OHMSS” pre-credit sequence. John Barry plays the conductor in “The Living Daylights”.

However, Michael G Wilson holds the record for the most cameos: he plays a soldier in “Goldfinger”, a priest in “For Your Eyes Only”, an opera patron in “The Living Daylights” (he looks straight at the camera and Bond`s box), a Russian government official in “Goldeneye”, and can be seen on a monitor in the conference scene in “Tomorrow Never Dies”. And those are just the ones he`s visible in. Wilson claims to have been in every Bond film since his “debut” in “Goldfinger”.

Ian Fleming may have had a cameo in “From Russia With Love”. Look closely when the train doesn`t stop for Kerim Bey`s son.