CommanderBond.net

Long time Bond fan and successful screenwriter Michael France (Cliffhanger, The Hulk) -- who was given story but not screenplay credit on GoldenEye -- was interviewed recently at the website UnderGround Online ("Screenwriting Punishment with Michael France"). France spoke about his upcoming film, The Punisher, and also gave some insights into how he approached "Bond 17," and how he felt he was under-credited in the end.

Main story HERE.

I thought France contributed alot to the screenplay of GOLDENEYE. The classic elements from the Bond series was worthwhile. I also liked how he built a story around the friendship/betrayal of 007 and 006.

I think France is a way better writer then Purvis and Wade ever could be.

Interesting article.

Well, with Caine, Feirstein, and Wade also, I can see how it might have gotten confusing, but he deserves the screenplay credit if he did the most then.

I've always found it interesting, with GoldenEye the most in fact, to see what constitutes a writer recieving a screenstory and screenplay credit.

I don't suppose there's any chance to bring France back, hmm?

I'd like to see some of the crew from GoldenEye return, I think they could deliver a fine film.

I agree, totally. I personally think it's easily Brozzy's best.

I prefer Tomorrow Never Dies slightly more, but I have to agree that GoldenEye had a fine screenplay. Get Caine, Wade, France, and most importantly, Feirstein back!

I don't quite understand why the story and screenwriting credits went into arbitration at the Writers Guild of America. I presume that there was some conflict going on in how the studio proposed to acknowledge the screenwriting and story credits among some of the writers. Kevin Wade is uncredited for his third draft of the GoldenEye screenplay, is it possible that he felt slighted by the producers?

Besides the vanity aspect for the name recognition, is a "Story by" credit worth less in Hollywood than a "Screenplay by" credit when a writer is looking for future work? I presume that the producers paid France the same rate for his work no matter what credit he received on the finished film and that Eon Productions would probably have given him an employment reference.

Interesting article, thanks for the link zencat.

Actually, no. Depending on the deal, a writer get can substantially most money if he or she receives sole writer credit, and most bonus are based on "sole writer credit." As far as why things go into arbitration...if any one writer who works on the project objects to credits as submitted by the producers, it goes into arbitration. If a producer claims writing credit, it automatically goes into arbitration (not sure if this applies to director as well). GE, TND, and TWINE were all arbitrated. I don't think DAD was.

It wasn't that good.

Directer: Martin Campbell*,Roger Donaldson,Phillip Noyce or Jon Amiel.
Writers: Pervis&Wade together with Michael France.
Cinematographer: Phil Meheux**
Editor: Terry Rawlings***

* Goldeneye,Mask of Zorro and Beyond Borders
** Goldeneye,The Saint,Mask of Zorro,Entrapment,The Core and Beyond Borders
*** Goldeneye,The Saint,Entrapment,The Core and Beyond Borders

And if you look to my other directer chooses,you see that Rawlings working earlyer with my number 7 choose: Stuart Baird for U.S. Marshals.

One of my wishes is that Michael France writing the script together with Pervis&Wade and the Goldeneye team from above returns or with one of the other 3 directer chooses if Campbell is not avaible.

maybe it was a killer idea back in the early nineties to have the villain be a former good guy, but now that idea seems so simple, but maybe that's cause it gets used so much more now....but contrary to how Mr. France feels I don't think James Bond would be particularly good friends with the other double ohs....

Very interesting.

I remember reading a very good interview online a while back in which Nick Meyer talked about doing uncredited work on TND. I'll find the link I'll submit to your Team news.