15 Years in 'Bondage'

Are you into Bondage?

…Magazine, that is?

Bondage was the official magazine of the James Bond 007 Fan Club (not to be confused with the James Bond International Fan Club, publishers of ‘OO7’ Magazine). The “American club” — as it was called back in the day — was run by Richard Schenkman from 1974 to 1989. While Bondage never grew as thick nor as slick as its overseas counterpart ‘OO7’, its content was always first class. In the pages of Bondage you could find lengthy in-dept interviews with such Bond luminaries as Cubby Broccoli, Michael G. Wilson, George Lazenby, Timothy Dalton, Tom Mankiewicz, John Glen, and John Gardner. The magazine published several Ian Fleming short stories that had never been published in America, and one of its major contributors was the yet-to-be-named continuation author Raymond Benson. The club and magazine served Bond fans for 15 years, and within the pages of Bondage are facts and photos found nowhere else.

Today back issues of Bondage are hot collectibles. While issues 1 to 7 are exceedingly rare, the remaining ten issues can be found at reasonable prices. But which issue contains that choice interview or story that you simply must have?

To help you on your search, here collected for the very first time is a complete checklist bibliography of Bondage magazine — the covers, the content, and some choice news and rumours that didn’t always turn out to be true.

Happy hunting.

BONDAGE:

A Complete Bibliography – 1974 to 1989

Bondage – No. 1, June 1974
12 pages

• NEWS: Eon tells the club the next Bond film after The Man With The Golden Gun will be Moonraker. Eon says it will adapt the Ian Fleming short stories. Alice Copper’s musical version of The Man With The Golden Gun will not be used after all (?). The Man With The Golden Gun started shooting in April on schedule.
• BOND ON T.V. From Russia With Love airs on ABC with cuts even worse than Goldfinger. Will we see a YOLT/DAF theatrical double bill re-release in the future?
• WHERE ARE THEY NOW? David Hedison appeared on T.V.’s Cannon. Sean Connery is filming Ransom and will next do Murder on the Orient Express.
• REVIEW: Zardoz starring Sean Connery.
• TOYS & GAMES: Live and Let Die tarot card set still available.
• KUNG FU BOND? With The Man With The Golden Gun, is James Bond becoming a follower instead of a trendsetter?
• BONDED RECIPES, EDITORIAL, SURVEYS.

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Bondage – No. 2, December 1974
Special The Man With The Golden Gun Issue
12 pages

• REPORT: The Man With The Golden Gun – Cubby and Harry have done it again!
• LOCATIONS: A report on filming The Man With The Golden Gun in the Gulf of Siam, Hong Kong, and Bangkok.
• AT THE STUDIO: The Man With The Golden Gun at Pinewood and the huge Solar Energy Plant set.
• SPECIAL NOTE: Eon Productions tells the club that the next Bond film will not be Moonraker as reported in issue #1, but The Spy Who Loved Me.
• SOME FACTS ON THE STARS: Roger Moore, Christopher Lee, and Herve Villechaize profiled.
• BONDED RECIPES: “Scrambled Eggs James Bond” (from 007 in New York).
• WHERE ARE THEY NOW? Sean Connery is now filming Murder on the Orient Express.
• MISC, QUIZZES, HOW TO JOIN THE CLUB.

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Bondage – No. 3, January 1977
20 pages

• NEWS: Saltzman spits!
• NEWS: Double Double-Oh-Seven Next Year by Bob Forlini (news of rival Kevin McClory film, James Bond of the Secret Service).
• PREVIEW: The Spy Who Love Me by Richard Schenkman.
• ARTICLE: Russia Dealing Bonds.
• PICTORIAL: The Man With The Golden Gun car jump. Fan poster art by Tom Bennett
• HISTORY: James Bond’s Aston Martin.
• BONDED RECIPES: Chinese Fired Rice.
• ARTICLE: Is Spy Moore’s Last Bond?
• REVIEW: The Spy Who Loved Me: A review of Fleming’s Novel.
• ARTICLE: Why So Many Felix Leiters? by Bob Forlini.
• CAST & CREDITS: The Spy Who Loved Me.

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Bondage – No. 4, Summer 1977
20 pages

• THE BIG NEWS: While Octopussy and Moonraker were also being considered, it has been decided that For Your Eyes Only will be the next Bond film.
• MUSIC: Marvin Hamlisch and Nobody Does It Better.
• HISTORY: Portrait of M by Robert Forlini.
• ARTICLE: The Women of The Spy Who Love Me.
• LITERATURE: The Little-Known Ian Fleming/James Bond Short Stories by Saul Fischer.
• SPECIAL STILL PICTORIAL: Connery meeting the Queen at the You Only Live Twice premier. Roger Moore workout for The Man With The Golden Gun.
• OPINION: Roger Moore in Bond’s Future? by Richard Schenkman.
• VEHICLES: Getting around in Spy, a look at the Lotus and the wetbike.
• BONDED RECIPES: Green Street Spaghetti.

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Bondage – No. 5, Winter 1978
20 pages

• NEWS: Nothing yet on “Eyes Only”. Tom Mankiewicz has submitted several story ideas. Cubby scouting Venezuela, Brazil (Rio), Argentina, and Paris as possible locations.
• INTERVIEW: Q&A With Albert R. Broccoli.
• MUSIC: John Barry and Bond by Paul Harrod.
• PICTORIAL on the production of The Spy Who Love Me (including rare pic of Roger Moore and David Niven together on the set).
• ARTICLE: Bond’s Weaponry by Robert Forlini.
• CLUB MERCHANDISE
• SPECIAL STILL PICTORIAL: George Lazenby’s Bond-like Sony T.V. commercial in pictures and text.
• BONDED RECIPES: Roast Beaver (!) and Roast Duck.

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Bondage – No. 6, Summer 1978
On Her Majesty’s Secret Service Special
20 pages

• NEWS: Moonraker Launched! New film started shooting August 14. James Bond of the Secret Service back off the ground as well.
• INTERVIEW: George Lazenby: Ten Years Later Q&A.
• HISTORY: Das grosse Erlebnis – Piz Gloria by Tom Bennett.
• PICTORIAL: Peter Hunt: A Director’s Scrapbook. Personal pics from the production of On Her Majesty’s Secret Service.
• ARTICLE: The Original James Bond Car, My Life With 007’s Aston Martin DB5 by Jerry Lee.
• CLUB MERCHANDISE
• SPECIAL PICTORIAL: Roger Moore and Lois Chiles in Paris on the first day of shooting Moonraker.

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Bondage – No. 7, Summer 1979
20 pages

• CLUB MEMBERS NOTICES: Club Moonraker coverage will appear in the new sci-fi magazine, Questar.
• INTERVIEW: Q&A with Kevin McClory by Richard Schenkman.
• FAN ART: Club Member Artwork.
• PICTORIAL: Moonraker.
• CLUB MERCHANDISE
• ARTICLE: James Bond in the Classroom by Fred R. Eicheiman, Ed.D.
• ARTICLE: The Spy Who Lived Twice by Saul Fischer. A comparrison of the many similarities between The Spy Who Loved Me and You Only Live Twice.

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Bondage – Number 8, 1980
20 pages

• CLUB MEMBERS NOTICES: Pics of club members personalized 007 license plates.
• INTERVIEW: Q&A with screenwriter Tom Mankiewicz by Richard Schenkman.
• BOND BOOKSHELF: Colonel Sun, The Book of Bond, and The James Bond Dossier.
• ARTICLE: Moonraker From Book to Film by Andy East.
• HISTORY: On the Set of Diamonds Are Forever by Robert Short.
• ARTICLE: Ken Adam Talks About the Production Design of Moonraker.
• FAN FILM REPORT: The Spy Who Did It Better by Mark Pirro.
• BOOKS: Writing The James Bond Films: A Behind the Scenes History by Steve Rubin.
• INTERVIEW: An Exclusive Interview With “James Bond” by Danny Biederman.
• TRVIA: The James Bond Quizbook.

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Bondage – Number 9, 1980
20 pages

• INTERVIEW: Q&A with 007’s “Special Effects Wizard” Derek Meddings by Richard Schenkman.
• HISTORY: James Bond’s Hardware by Ian Fleming. (Remarkable article written by Fleming in 1957.)
• INTERVIEW: A Panel Discussion with Albert R. Broccoli, Lewis Gilbert, and Ken Adam held at the Museum of Modern Art June 29-30, 1979.
• LITERATURE: My Friend the Octopus by Ian Fleming. (Little-know Fleming story from 1957.)
• INTERVIEW: Bob Simmons by Richard Schenkman.
• TRVIA: James Bond 007 Quizbook.
• CLASSIFIED ADVERTISING.

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Bondage – Number 10, 1981
24 pages

• IN MEMORIAM: Peter Sellers, John Lennon, Bernard Lee.
• INTERVIEW: Q&A with Terence Young at the Festival du Film by Richard Schenkman.
• INTERVIEW: Richard Schenkman talks with associate producer Stanley Sopel.
• LITERATURE: Treasures of the Sea by Ian Fleming. (Another little-know Fleming story from 1957.)
• HISTORY: THUNDERBALL Open end Interviews with Sean Connery, Claudine Auger, and Terence Young from 1965.
• INTERVIEW: Maurice Binder at the Museum of Modern Art.
• ADVERT: The Illustrated James Bond, 007, a James Bond 007 Fan Club publication.

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Bondage – Number 11, 1982
25 pages

• INTERVIEW: John Gardner: A talk with the man holding James Bond’s literary license by Richard Schenkman.
• INTERVIEW: For Your Eyes Only press junket coverage by Richard Schenkman. Q&A interviews with: Topol, Julian Glover, Sheena Easton, Maurice Binder, Robbin Young (flower shop girl), Cubby Broccoli, and Roger Moore.
• MERCHANDISE: For Your Eyes Only posters.
• QUIZ/GAMES: The 007 Night Spot.
• MUSIC: Twisting with James
• BOOKS: Publish or Perish: Writing The James Bond Films: A Behind the Scenes History by Stephen Jay Rubin.
• ARTICLE: The strange case of the two prettiest women in For Your Eyes Only…one who wasn’t in the film and the other was a man!

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Bondage – Number 12, 1983
20 pages

• INTERVIEW: The John Glen Interview by Richard Schenkman and Tom Sciacca (including details on Octopussy).
• HISTORY: A Visit to the Lilly Library by Raymond Benson. Benson reports on the Fleming archive while doing his research for The James Bond Bedside Companion.
• MERCHANDISE: The August Halle Productions gunbarrel lithograph.
• REPORT: Never Say Never Again by Richard Schenkman (includes pic of cut scenes).
• HISTORY: Talking with Bond: Pino Locchi, the Italian Voice of 007.
• INTERVIEW: The Lois Maxwell Interview by Mark Greenberg.

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Bondage – Number 13, 1984
20 pages

• LITERATURE: “How To Write a Thriller” by Ian Fleming. Amazing article by Fleming from 1962. Illustrated by George Almond.
• INTERVIEW: A Dialogue with Kingsley Amis by Raymond Benson (infamous interview in which the author of Colonel Sun trashes the first two Gardner novels.)
• REPORT: HOLLYWOOD! Picture coverage from both the premieres of Octopussy and Never Say Never Again.
• HISTORY: On the Set of Diamonds Are Forever by Danny Biederman.
• MERCHANDISE: Final chance to get the August Halle Productions gunbarrel lithograph.
• INTERVIEW: The Adolfo Celi Interview by Piero Corsini.
• BACK ISSUES

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Bondage – Number 14, 1985
20 pages

• INTERVIEW: The 1985 Model: John Gardner by Richard Schenkman.
• GAMING: Be Your Own James Bond: A Look at the James Bond 007 Role-Playing Game by Raymond Benson.
• REPORT: A View To A Kill (includs pics from cut “Zorin protestors” sequence).
• REPORT: James Bond in San Francisco by Rick Johnson.
• OBITUARY: Ivar Bryce 1906 – 1985, A Remembrance.
• REPORT: Sean Connery: Harvard Man of the Year. A full report with pics from the Hasty Pudding Theatricals 1984 banquet.
• MERCHANDISE: Vintage Bond Corgi’s for sale.
• BACK ISSUES

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Bondage – Number 15, May 1987
20 pages

• HISTORY: Casino Royale: The Forgotten Bond by Leonard Thomason.
• REPORT: On the Set of The Living Daylights: A Reporters Notebook by Richard Schenkman.
• INTERVIEW: A Conversation with Timothy Dalton by Richard Schenkman.
• REPORT: SOLD! A report on the sale of the Aston martin DB5 by Raymond Benson.
• LITERATURE: “Treasure Hunt in Eden” by Ian Fleming. Part One: Pirate Gold. (Story written by Ian Fleming in 1958 printed here in American for the first time.)
• BACK ISSUES

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Bondage – Number 16, Winter 1989
23 pages

• LITERATURE: “Treasure Hunt in Eden” by Ian Fleming. Part Two: Butterflies and Beachcombers. Illustrated by George Almond.
• MUSIC/BOOKS: The Soundtracks to the Novels by Raymond Benson. Researched by Mark Atkins. (A terrific examination of the music contained in the works of Ian Fleming.)
• REPORT: Report from the Set of License To Kill by Richard Schenkman.
• INTERVIEW: Timothy Dalton Revisited by Richard Schenkman. (Interview contains pics of cuts scenes, and an ominous prediction by Dalton that he “has a feeling” that Licence To Kill will be “the end of the lot.” Not just his last Bond…but the last Bond altogether!)
• BACK ISSUES & BOOKS.

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Bondage – Number 17, Summer 1989
28 pages

• TELEVISION: Fleming’s Life Depicted in Goldeneye. Report on TV movie starring Charles Dance.
• LITERATURE: “Treasure Hunt in Eden” by Ian Fleming. Part Three: Gold or No Gold?
• TELEVISION /HISTORY: Ian Fleming’s Other Spy by Jon E. Heitland. (A look at Ian Fleming’s involvement in the creation of Napoleon Solo and The Man From U.N.C.L.E.)
• INTERVIEWS: Chatting at the Plaza. Press junket interviews with John Glen and Talisa Soto from Licence To Kill (with a promise that other interviews would appear in Bondage #18).
• LOCATIONS: Everyman His Own 007 by Richard Schenkman. (Terrific collection of fan photos and remembrances of visiting Bond sets and Bond locales.)
• INTERVIEW: A Visit to the James Bond Classroom. Raymond Benson interviews Michael G. Wilson and director of publicity Saul Cooper.
• BACK ISSUES & BOOKS.

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Bondage – Number 18?

• The club newsletter Bondage Quarterly promised a special double issue Bondage #18 that would include the “best of” earlier issues. This was to be the final, “sign off” issue of the club magazine. Unfortunately, Bondage #18 never appeared (as far as I know).
• Richard Schenkman went on to become a successful producer and director.
• Goldeneye, the official publication of the Ian Fleming Foundation, would succeed Bondage in 1992 and become the leading U.S.-produced magazine for James Bond fans.

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Bond 21 To Start Shooting In April '05?

A mysterious insider over at Absolutely James Bond message boards has reported that the start of production of Bond 21 has been delayed until April 2005. Insider “Pierce-B” proved his reliability during the shooting of Die Another Day multiple times, but he was also far out in 2003 when he “confirmed” that location scouts had visited South Africa and Liverpool. According to CBn’s own sources, no locations were scouted in 2003 at all.

However, an April 2005 start of production would accompany the rumours of a 2006 release date. Originally, the shooting start of Bond 21 was dated January 2005. But now it appears that no filming will start until MGM is sold, and the future of MGM seems very opaque. Other reasons not to believe in a November 2005 release date include that no director has been announced yet and no other details have been released so far. A few weeks back, MGM vice chairman and COO Chris McGurk said that Bond 21 is ahead of a schedule compared to Die Another Day in 2001. But Lee Tamahori was officially announced on jamesbond.com on August 22, a few days earlier it was officially confirmed that Bond is going to drive Aston Martin again. Likewise, Michael Apted was named director of The World is Not Enough on August 8.

Now, August is about to end with no official news of a director nor who will play 007. Latest word from “pierce-b” regarding the new Bond actor was that James Purefoy was in the run, but Purefoy recently told Hello magazine that while the role would be “a great honour,” news of him as 007 #6 was just a rumour.

Let’s hope that we will hear from MGM soon.

To discuss this news visit this thread in CBn’s Bond 21 forums.
Thanks to CBn forum member Martin Mystery for the tip-off.

Review: 'Totally… James Bond: The Essential 007 Themes'

The problem with reviewing cover albums is that it is awfully easy to resort to simple comparisons with the original songs. The problem with the covers themselves is that, all too often, the artists are simply attempting recreate the original songs. Awfully. As such, it is nigh on impossible to avoid such comparisons when the cover is doing little more than attempting to sound exactly like the original. To that end, perhaps the best covers are found in those that shake up the original song, so that it harkens back to the initial piece, but does something new with it; it has to both embrace the song, whilst simultaneously giving it a different spin. After all, what is the point of creating something new when the end result is only endeavouring to clone what’s old? It is a very fine balance to strike, and for many, a cover will elicit a “love it or hate it” response, seldom falling between those two extremes.

The James Bond title songs are some of the most recognisable themes in movie history. Whether it’s Shirley Bassey’s powerful vocals on Goldfinger, Duran Duran’s catchy percussion from A View To A Kill, or merely Monty Norman’s infamous James Bond Theme, the original recordings of the classic Bond themes are arguably – and probably rightly – irreplaceable, at least so far as their initial arrangement. Albums such as Shaken and Stirred: The David Arnold James Bond Project, created by Arnold prior to his work on Tomorrow Never Dies, successfully put new spins on many of the earlier Bond themes, both instrumentally and vocally. Perhaps the album’s two extremes, The Propellerheads’ popular nine-minute rendition of On Her Majesty’s Secret Service featured some of the driving drum and bass elements that makes their work so unique, whilst Shara Nelson’s cover of Moonraker sounded thematically similar to Shirley Bassey’s original, only with the addition of some subtle electronics. Arnold’s compilation almost flawlessly (LTJ Bukem’s track is, perhaps, the only weak link on the CD) updates a number of classic Bond tunes.

Starkly contrasting here, then, is Metro Doubles new Totally… James Bond: The Essential 007 Themes compilation, a 2CD set featuring vocal and instrumental covers of the James Bond songs that endeavour to mirror their original counterparts quite closely. Produced by Ian Summers, the collection features the music of the Ian Rich Orchestra, a roughly 25-piece outfit. There are ten different vocalists who perform anything from one to four songs each. Is the effort a success? Read on to find out.

“Attracting top rank performers from Matt Monro to Madonna, the Bond theme pieces are perennially one of the most persuasive tools in the arsenal of this unique franchise.”

Jon Winter, ‘Totally… James Bond’ liner notes

The packaging

The set comes packaged in the standard 2CD jewel case, inside a rather quality cardboard slipcase. With no intention to be nitpicky, one cannot help but notice that the back of the CD claims the “first Ian Fleming film was committed to celluloid in 1967”, something that is promptly contradicted in the next sentence, when it is noted that the set “brings together the complete collection from over 40 years of Bond magic”. Curiously, the first CD, featuring the vocal renditions of the themes, uses the exact same track order as the Best of Bond… James Bond CD sets, with Die Another Day tacked on as the twenty-first track. The second disc, containing the instrumentals, places the songs in order, contrary to the seemingly random tracklisting for the second CD on the back of the case.

Within the set itself is a single page of liner notes from Jon Winter, who gives a brief discussion on the appeal of James Bond, with a focus on the music. Also listed are the credits for both discs, whilst the artwork inside features various non-descript Bond-esque silhouettes, including a jet, a helicopter, a radio set and skier. Intriguingly, the image of Bond on the front of the CD is a silhouette of an image of Pierce Brosnan from an official photoshoot for GoldenEye. The disc artwork features a black and a red gunbarrel motif for the two CDs.

CD 1 – Main Themes

01. The Ian Rich Orchestra – James Bond Theme (2:36): The well-known theme song is played here in typical over-the-top fashion. It’s a rather crisp rendition of the theme, with perhaps more of a jazz flavour than usual. The track is actually one of the few in this set to deviate from the original versions of the songs; a brief drum solo occurs about halfway through the song, and it ends on a huge, brassy note, as opposed to the cool guitar twang of the John Barry arrangement. The deep guitar riff is very close to that featured in the original 1962 recording.

02. Joanne Farrell – Goldfinger (3:04): Farrell delivers a quite sexy performance that is marred only by a rather tinny instrumental, no doubt due to the small size of the orchestra. It’s quite noticeable towards with the opening beats as well as at the end of the song; whilst Farrell holds that final note well, the instrumental doesn’t quite match up. A very jazzy trumpet features prominently, as does a Bondian sounding guitar. One minor fairly insignificant thing that has stood out to me on repeat listenings is Farrell’s articulation on a handful words (“beware of his heart arf gold”), but it isn’t a major detraction.

03. Marina Berry – Nobody Does It Better (3:29): Berry’s voice is a particularly sweet and gentle one that suits this song down to a tee. She’s accompanied by a similarly gentle piano, and unlike several of the other songs on the CD, the percussion enhances the song’s pace, rather than cheapening the affair. An adlib guitar plays softly throughout the song, gradually growing louder, whilst a backing of female vocalists is utilised at the song’s climax, as well as during several key moments earlier in the song (such as over “I tried to hide from your love life” and “there’s some kind of magic inside you”). Minimal experimenting takes place, but the song is an enjoyable one.

04. Nik Page – A View To A Kill (3:37): I’m yet to hear a cover of Duran Duran’s hugely successful title song that I like, and that is very much unchanged after listening to this track. In what is almost certainly the worst song on the CD, Nik Page delivers vocals that are clearly trying to imitate those of Simon LeBon. The electronics throughout the song vary from fairly decent to pretty poor, and it sounds like the brass throughout the song has been distorted, resulting in a cheap-sounding synthetic effect. Even the guitar work throughout the song is fairly dull. Unfortunately, one of the best Bond songs is left sounding like little more than a tacky knock-off, to the point where it almost makes Gob’s frenetic 1997 cover sound bearable. Almost.

05. Zoe Tyler – For Your Eyes Only (3:04): Here, Tyler performs a powerful rendition of Sheena Easton’s 1981 theme song. It is perhaps a touch too powerful in parts, especially the chorus. It’s not a bad listen overall, and the instrumental is virtually flawless. If anything, it’s an interesting ‘what if?’ as to what the song would have been like if performed by someone with a more authoritative voice, such as Dame Bassey.

06. Bob Saker – We Have All The Time In The World (3:15): Like A View To A Kill before it, Bob Saker’s cover tends to drifts – from time to time – into little more than an impersonation of the original, instead of standing alone in its own right. Louis Armstrong’s voice is instantly recognisable, so it is painfully obvious when Saker foregoes his own talent to try to imitate Armstrong’s unique gravely voice. The instrumental, however, is totally enjoyable, with a heavy-ish percussion leading the track, which features the Spanish guitar a dash more prominently than the original. This could’ve been a pleasant cover if it weren’t for the Louis Armstrong imitations, which Saker coasts in and out of, as if he can’t make up his mind whether to use his normal voice or not.

07. Nik Page – Live And Let Die (3:11): In what is possibly the most covered Bond song of them all, Nik Page returns for a more restrained imitation than his earlier track. The beauty of the original version was it was heavily driven by the instrumental, and this is no exception here. Page’s McCartney impersonation is decent (even if one asks oneself why they just don’t simply listen to McCartney and be done with it), accompanied by female back-up singers. A very nice touch during the chaotic instrumental a minute into the song is the addition of a harp. A small extra, but it works (as does the piano roll towards the song’s end). Surprisingly, the portion of the song that could have easily been ruined (“what does it matter to you, when you’ve got a job to do” etc.) is particularly enjoyable; Page effectively “gives the other fella Hell!” Rather ordinary, but passable.

08. Zoe Tyler – All Time High (3:02): Tyler is more gentle here than she was in For Your Eyes Only, and it works. Only during the chorus does she take charge a bit too much. It sounds like a guitar can also be heard faintly during the chorus, and the use of a harp again works perfectly. Like For Your Eyes Only, it more or less copies the original verbatim, but with a more powerful voice. In spite of Tyler’s powerful voice, it’s a decent listen.

09. Nik Page – The Living Daylights (4:17): The “The” in “The living daylights” part of the chorus is gone (it’s also omitted from the “(the) living’s in the way we die” lyric). Thought I’d get that off my chest, because it sticks out like a sore thumb. On that topic, the “let it never fade away” line in a-ha’s original version has now become “never let it fade away”. Minor niggle. As for the song itself, it falls under the same category as Page’s Live And Let Die cover, only this one is trying to be the original more, much to its detriment. The instrumental itself isn’t too bad, featuring some punchy brass and some catchy percussion. However, there’s nothing particularly pleasing here.

10. Alexus Ruth – Licence To Kill (5:09): This is perhaps the best song on the first disc (and the instrumental on the second disc is better still). Foregoing the slight electronics that appeared in Gladys Knight’s original, this is a more traditional rendition of the theme, in which Ruth – who has a terrific voice – tweaks the vocals on the original ever so slightly, but it works. The “til their dying day” portion at the end of the bridge is performed very nicely. And in one of the rare occasions on the CD, the size of the orchestra sounds perfect. The only part where it’s tarnished is during the final chorus, where the instrumental seems to go off-key for just a moment, but it isn’t too obvious.

11. Bob Saker – From Russia With Love (2:35): Accompanying a top instrumental here, is another performance from Saker that leans towards a Matt Monro sound-alike than standing alone in its own right. However, unlike Louis Armstrong, Matt Monro’s voice is nowhere near as distinctive, and as such, Saker’s vocals here tend not to jar as they did with We Have All The Time In The World. A faint snare drum aids the pace of this song, as does the use of the mandolin, which leads the instrumental on the second disc. A very lush sounding rendition of the original theme.

12. Nik Page – Thunderball (3:00): In his final performance in this compilation, Nik Page supplies a rather ghastly Tom Jones impersonation, which taints the enjoyable instrumental. It shouldn’t be too bad, but it is as one can’t help but think how much better Tom Jones does Tom Jones, than Nik Page doing Tom Jones. But again, the orchestra’s work on the song is very good.

13. Zoe Tyler – You Only Live Twice (2:51): I find it unusual that they selected someone with a voice as strong as that of Zoe Tyler to perform the more beautiful Bond themes. That said, for the most part, the vocals are enjoyable here. The instrumental is typically gentle, too. Its tender approach is more reminiscent of the original song than the crisp instrumental David Arnold utilised for his covers of the song with Björk and Natacha Atlas. It’s just a shame that the Ian Rich Orchestra did not hold onto that top note at the very start of the song; instead of holding the crescendo as in the original, the build-up and the swirling strings back down sort of meld together awkwardly.

14. Joanne Farrell – Moonraker (3:13): Covering perhaps the most underrated song in the whole Bond canon, Joanne Farrell does an ample job of carrying this soothing tune. From time to time, Farrell deviates slightly from the original’s vocals, resulting in a more imaginative rendition of the theme. The instrumental uses heavier percussion than the original did, to its benefit. It goes without saying, but these songs work far better when the vocalist is not simply attempting to reproduce the original singer.

15. The Ian Rich Orchestra – On Her Majesty’s Secret Service (2:35): John Barry’s terrific instrumental theme to On Her Majesty’s Secret Service is not quite done justice here. After the impressive opening brass punches, a different-sounding synthesiser kicks in, which works quite well. However, the driving brass created by Alpine horns in the original John Barry version is drowned out here by some pulsating strings, which gives the song a jerky sound.

16. Diane O’Sullivan – The Man With The Golden Gun (2:34): In the shortest song on the CD, O’Sullivan gives a powerful performance that only really harkens back to Lulu’s version during the slow portion of the theme. The electric guitar that figured into the original quite heavily takes a backseat until later in the song, while the brass again takes on a jazzier feel. The percussion – particularly the bass – has a tendency to cheapen the song, too.

17. Joanne Farrell – Diamonds Are Forever (2:43): With a dark and moody opening that is a smidgen evocative of David Arnold and David McAlmont’s Diamonds Are Forever (You Expect Me To Do What, Mr. Goldfinger? Mix), Farrell goes on to deliver an enthusiastic vocal that is perhaps the most varied in this collection. The instrumental uses similar disco-style sound effects that were found in the original recording and some heavy percussion (this time reminiscent of the original version of the Arnold/McAlmont collaboration) that carries the song. This is quite an enjoyable cover.

18. Nicola Hughes – GoldenEye (3:29): The addition of a harp and chimes adds an extra air of mystery to this above-average cover of the radio edit of Tina Turner’s 1995 tune. Hughes’ vocals aren’t as powerful of those of Turner, even if, at times, it sounds as if she’s imitating the original. Only towards the end does she falter with the final lyrics. The strings during this track are more than adequate, but this time, the brass is lacking.

19. Diane O’Sullivan – Tomorrow Never Dies (4:46): Again, O’Sullivan delivers a different take on a Bond theme, and one that suits her strong voice. The instrumental is a touch weak, particularly during the screeching strings opening of the song (and the several instances in which they reappear later on). That said, the percussion is nice and strong, which works well for the piece, even if again, the bass sounds pretty tacky.

20. Lois Laxton – The World Is Not Enough (3:55): The electronics used throughout this cover quite nicely mirror the sounds heard throughout Garbage’s 1999 Bond theme, and Laxton delivers a rather Bassey-esque rendition of Shirley Manson’s original vocals. However, the size of the Ian Rich Orchestra – case in point here, the strings section – is detrimental the instrumental, particularly in such a strings-driven song as this is. The strings are more than ample during the verses, but during the chorus, it’s painfully obvious. It’s a pity, since everything else – the vocals, the percussion and the brass, in particular – is more than adequate. Another minor lyrics glitch occurs when Laxton sings, “I know how to hurt, I know how to kill”.

21. Sarah May – Die Another Day (3:29): Rivalling Nik Page’s A View To A Kill cover for worst track on the album is this dud. For those who thought we couldn’t have gotten a worse title track to Die Another Day, have a listen to this. It’s not a particularly coverable song to begin with (covered here is the radio edit), but May’s cheaply distorted vocals vary from sounding like a deep-voiced male, to a chipmunk on helium. It’s not a good effect. Ironically, though, we can only assume that the orchestra actually performed the strings in this piece, when they were synthetic in the original version. Notably, there is no instrumental for this track on the second disc. Probably for the best.

CD 2 – Instrumental Bond

01. The Ian Rich Orchestra – James Bond Theme (2:36): The instrumentals on this second disc are identical to those on the first CD, only the vocalists have been replaced with a further instrumental or two. What results is a surprisingly different sound on this second disc, and one that is arguably more successful than the initial batch of covers. This first track, however, is identical to that on disc one.

02. The Ian Rich Orchestra – From Russia With Love (2:34): For the most part of this track, the mandolin takes a front seat, resulting in a delightfully Russian-sounding track, unlike any version of this song I’ve heard before. Interjecting from time to time to replace the mandolin is a lounge-y lone trumpet that sounds terrific. The closing bars of the song, in which the mandolin is used in place of the lyrics, is perfect.

03. The Ian Rich Orchestra – Goldfinger (3:03): In lieu of the vocals here is a Bond-esque sounding guitar that is reminiscent of the terrific instrumental track from the Goldfinger, which was only used in the film’s advertising campaign, and a saxophone, which alternate throughout the song. The result is a highly enjoyable instrumental that has a great lounge feel to it, without losing its Bondian roots.

04. The Ian Rich Orchestra – Thunderball (3:00): Without the wannabe Tom Jones crooning along, this is quite a good piece, as shown in this instrumental. The same guitar that was used for parts of the previous song leads the way here, and it’s rather subtle, rightfully allowing the brass to take charge. When the guitar isn’t replacing the vocals, it’s a smooth trumpet. Just as with the Goldfinger track, this is an excellent instrumental cover.

05. The Ian Rich Orchestra – You Only Live Twice (2:51): Here’s a pretty limp instrumental of the Nancy Sinatra theme. Replacing the vocals this time out is what sounds like a clarinet or an oboe (odd, since neither of those are credited in the liner notes) and a flute, but the former seems like an unusual choice. Both instruments give heartfelt performances, but they probably aren’t right for a song like this, particularly with the Asian rhythms throughout the song. It should please some people, but I don’t find it too outstanding.

06. The Ian Rich Orchestra – On Her Majesty’s Secret Service (2:35): This is the same track as on the first CD.

07. The Ian Rich Orchestra – We Have All The Time In The World (3:16): This is perhaps the first in what becomes a line of songs that inappropriately uses the saxophone in place of the vocals. It just doesn’t feel right for a song like this. As a result, the trumpet is predictably underused, which is a shame, since the song works so well when it’s performing.

08. The Ian Rich Orchestra – Diamonds Are Forever (2:42): A terrific – and again, lounge-y – instrumental, with a mysterious-sounding flute leading in place of the early vocals, before it’s overtaken by a silky trumpet, which is in turn, overtaken by a playful (and appropriately used saxophone). All this occurs in the first minute-and-a-half or so, making for a nice build-up to the track’s punchy climax. Actually, this one wouldn’t sound out-of-place in John Barry’s lush Diamonds Are Forever score.

09. The Ian Rich Orchestra – Live And Let Die (3:11): A Spanish-sounding guitar replaces the vocals during the slower parts of this song, whilst an electric guitar commands the up-beat portions. It’s an abnormal combination, but it works. The guitar isn’t as heavy as the ones featured in the highly successful Guns ‘n’ Roses cover, and it only features occasionally. Perhaps the oddest addition is what sounds like a funky-sounding harpsichord (no doubt performed on a keyboard) for the middle part of the song. Again, odd, but it works.

10. The Ian Rich Orchestra – The Man With The Golden Gun (2:34): The cheap percussion here still drags the song down, whilst the saxophone returns appropriately, in a style that harkens back to Barry’s cues from Scaramanga’s Funhouse. The end product is an uplifting, jazzy piece that only takes a break for a heartfelt and soothing bridge. Quite pleasing!

11. The Ian Rich Orchestra – Nobody Does It Better (3:30): The use of an electric guitar here is even more of an oddity; but in some ways, it’s reminiscent of Marvin Hamlisch’s Anya cue. It’s certainly a unique take on the theme, a concept that is sorely lacking in this album. The direction they’ve taken this particular cue could please some, whilst others will no doubt find it a disgrace. Personally, I really like it. It’s different, but it maintains the song’s original feel. The female back-up singers remain, whilst the guitar is used throughout the entire song. This is well worth a listen.

12. The Ian Rich Orchestra – Moonraker (3:14): A warm flute carries this piece from the start quite well, resulting in a soothing and romantic tune, that also has a nice beat to it. There’s ten seconds of original music at the end of the first chorus, before what sounds like a xylophone leads for a brief while and then the saxophone kicks in. It isn’t too bad here, but I’d have sooner listened to the beautiful flute, which was carrying the song very well on its own.

13. The Ian Rich Orchestra – For Your Eyes Only (3:04): Here’s an instrumental that mirrors the original quite well. A soft guitar replaces the vocals amiably for the introduction, before it’s joined again by a saxophone. Sans the saxophone, this’d be a very enjoyable track, but it tends to be more of a hindrance than carrying the song. The portions without it wouldn’t sound out-of-place during Bill Conti’s score from the film.

14. The Ian Rich Orchestra – All Time High (3:01): Again, the soft guitar opens this song in place of the vocals, and it works beautifully. And again, a saxophone takes over, only it meshes quite nicely with the rest of the song, here. A trumpet oddly takes over from the saxophone halfway through the chorus, which is a touch jarring. A nice instrumental, nonetheless.

15. The Ian Rich Orchestra – A View To A Kill (3:37): Whilst it’s markedly better sans Nik Page’s vocals, the cheap electronic effects still work against the orchestration. The saxophone is again used, only it sounds quite awful here, almost like a theme song to one of those tacky 1980s cop shows. The trumpet assumes the mantle for the second verse, which sounds much better, but it disappears all too soon.

16. The Ian Rich Orchestra – The Living Daylights (4:17): This is quite a decent orchestration of the theme, where a saxophone is used quite appropriately (it works particularly well during the portions before the choruses kick in). However, given the instrument has been used during the past four songs straight, the ears have grown tired of it blaring out the Bond themes. On the whole, there’s nothing great here.

17. The Ian Rich Orchestra – Licence To Kill (5:09): Like Alexus Ruth’s cover of it on the first CD, this is a real highlight here. An adlib saxophone works perfectly (for a change) during the more powerful parts of the song, whilst a low-key flute is utilised for the song’s verses. The percussion remains bang-on from the previous version. Overall, it’s terrific.

18. The Ian Rich Orchestra – GoldenEye (3:29): A quirky-sounding guitar originally replaces the lyrics here (it fits quite well), whilst the now-obligatory saxophone (in Pink Panther theme mode) kicks in a bit later. And just before the first chorus, what is no doubt a keyboard, programmed as what sounds like an organ, commences (again, odd, but it works). The same cycle is repeated for the chorus and remaining verses. Above average.

19. The Ian Rich Orchestra – Tomorrow Never Dies (4:46): The same style guitar as featured in tracks 13 and 14 reappears, as does the mandolin from From Russia With Love and, wait for it, the saxophone for the chorus. It doesn’t work overly well here, either, particularly following the inventive use of the mandolin, and preceding the keyboard-organ.

20. The Ian Rich Orchestra – The World Is Not Enough (3:54): Mercifully, for the last track on the CD, the saxophone is nowhere to be found. A lone electric guitar plays during the two verses, a very Garbage-esque vocal replacement, which works in a unique way. Some heavy strings are used during the chorus (accompanied by a Middle-Eastern-sounding wind instrument, that I can’t place), whilst a trumpet plays very subtlety during the bridge. All three instruments regroup for the song’s climax. The initial size of the orchestra (again, highlighted by the strings section) does detract from a song like this, but on the whole, it’s quite enjoyable.

Overall

Expecting the worst upon purchase of the CD, I was actually surprised that it wasn’t half bad. Unfortunately, some of the songs miss the mark, by and large due to the fact they were attempting imitation, rather than a re-imagining. The other vocals were, for the most part, enjoyable, if a little bland. In actual fact, if any word is conjured up whilst listening to this CD, it’s “bland”. Not a bad thing, per se, but a little bit of experimentation could have gone a long way. As it happens, the instrumentals on the second CD feature more varied takes on the Bond theme songs than the first. The second disc, enjoyable as it is, is marred by an over-reliance on the saxophone in place of the vocals, often in songs were it simply doesn’t fit. The general ambience generated by this disc, however, is a jazzy, upbeat one, certainly not out of place playing in the background over dinner (or just a martini or two). Having written this review over the period of a week, I am finding the CD to be a “grower” (in fact, I’m guilty of having played the dire Die Another Day track from disc one several times in the car on the way home from work the other night), and for its price (I picked up my copy for under AUS$23), Totally… James Bond is money well spent for the 007 music fan. Don’t expect fresh new takes on your favourite themes, and be prepared for the odd imitation or two, and this two-disc set makes for a decent purchase.

Purchase Totally… James Bond: The Essential 007 Themes

• Amazon.co.uk
• Amazon.com

To discuss this CD and review, visit this thread in the CBn Forums

75% Of Fans Want Tarantino (Updated)

UPDATE! Sept 1, 2004:

Quentin Tarantino’s publicist, Bumble Ward, tells CBn that Quentin was “tickled” with the results of this CBn poll. Nice work Paul, and congrats to all the CBn forum members who voted!

What a turbulent time of year it is for us Bond fans. In what has to be possibly the most in-flux we have seen the post-Dalton franchise, rumours are getting thrown at us left, right and centre from UK tabloids and respected sources, but mainly from the PR people of the actors who want to get noticed. Yet Bond 21 rolls on (apparently), with a script from Purvis and Wade (oh joy, it’s badly written puns ahoy) and no actor in the leading role.

Personally, I’m of the opinion that Brosnan has one more left in him. Give the man the swansong that his tenure deserves! He’s been playing in a series of films that haven’t yet touched on the character of James Bond whatsoever, but have been far happier to line up explosion after explosion in what can only be described as mere parody. Don’t get me wrong; apart from the dismal The World Is Not Enough, his reign has been pure entertainment, but his Bond has still not lived up to potential. Too many times in the post-Dalton films have we seen thorough character development thrust aside in favour of thrills, spills and glacier surfing.

Constant Interest

Way back in October, while promoting Kill Bill, Quentin Tarantino -in his inimitable style- raved about how much he wanted to put on to celluloid the true Casino Royale. Ian Fleming’s Casino Royale. He did reveal some curious ideas (setting the film in the 1950s? Interesting, but a bit too convoluted in a so-far chronological series), however the very thought of Tarantino getting his hands on Bond, for me, set my little mind a-flutter. He mentioned focussing on the character, style and the raw emotion of the book that the 1967 Charles K. Feldman epic… err… didn’t.

An online journal, or “blog”, was found last week which apparently outlined Tarantino’s frustration at not being able to helm Bond 21. Though later proved false by CBn, the blog was probably an accurate gauging of the director’s sentiment regarding Eon’s apparent disinterest in using him.

Upon hearing the man’s wish, some people plainly couldn’t grasp that Tarantino might just make a film that was devoid of his trademark creative violence and colourful language, and instantly poo-pooed the idea: “You motherf——ing f——, Le Chiffre, you just f——ed up my s——ing Bentley!” they envisaged an understandably miffed 007 shouting at the battering his 1930 4.5-litre, Amherst-Villiers supercharged model receives in the third quarter.

Such cries were lambasted by CBn forum member “Turn,” who replied by calling the assumptions “a sad misconception based on his past work.” He continues:

If the guy truly has passion for the project, which I think he does, he would work to make the elements true to the character and story and put his own trademarks aside.

Everybody could win because Tarantino could prove he can do a film outside the boundaries of the crime/Hong Kong action genre and Bond fans would get a film that wasn’t the same old. If they are going to take a chance, this is the way to go.

-Turn, CBn forum member.

On the Jay Leno show, again whilst promoting Kill Bill, Tarantino further won the fans over with his ardent enthusiasm. His love for Bond was apparent in the detail of his responses to Leno’s questioning (on occasion correcting mis-quoted facts), his impression of the voiceover artist on a vintage Bond trailer and through his rousing rendition of the James Bond Theme.

More importantly Tarantino stressed that he understands the elements that make a great 007 film, and that gallons of blood and swearing by the f—— load aren’t included in that list. Upon hearing this, many fans who previously doubted his ability promptly made an about-turn, rejoiced and started seriously considering him for the director’s chair.

He also stressed on the show that if the fans want him as director then they should let themselves be heard. So here I am, with the vain hope that someone with some gravity is reading this.

The Poll

Last week a poll was opened to ask the members of CBn once and for all if they would like Quentin Tarantino to direct Bond 21. Okay, okay, it’s probably too late in the day to pose such a question and Babs and Mickey G. probably have the short list down to the final three, but to you naysayers: there’s nothing wrong with a bit of wishful thinking, is there?

We gave the quick poll a week to gather both results and dust, to which 74% (or just under ¾ if you’re a fraction person) of CBn members voted that they wanted Tarantino to direct Bond 21. To me- already a strong supporter of Tarantino’s determined struggle- that 75% represents a strong desire for the majority of fans for this man to direct.

Conversely, it would be fairly narrow-minded of me to believe that the 26% of fans who weren’t prepared to see a Tarantino directed film wouldn’t want him solely because of his controversial style. CBn forum member “Loomis” assumes that “Tarantino and Eon wouldn’t be a happy combination.” Why wouldn’t they? I imagine you shouting from the rafters.

The Bond series is one of a dying breed of producer-run series. Eon have creative control over the character they’ve nurtured for 40 years, and fair play to them. God only knows what would have happened had any director been given creative control. (A Bond with rubber nipples, most probably if Joel Schumacher had been given free-reign as he was on the Batman franchise. (The style turned after the overly Burton-esque Batman Returns, and so did cinema-going audiences.)

Pre-Madonna

The Tarantino Affair: (or Tarantinogate if you so prefer) isn’t the first time a “big name” director has expressed interest in the series. Back in the 1980s a little-known fella called Steven Spielberg also expressed his love for all things Double-0 coupled with his wish to make a Bond picture. Cubby didn’t hire him, presumably because an A-lister at the helm of a 007 flick would spell major creative differences. The last thing a producer needs is a prima-donna director with all the answers and all the ideas but none of the give-way. CBn forum member “Moomoo” spells out for us the way such a problem could be countered:

I believe ‘compromise’ is the key word here. It’s naïve to think Tarantino or any high-profile director can make a Bond film without Eon’s input. Tarantino has to compromise and accept the fact [that] Bond has to stay relevant, has to compete with the modern action films. That’s why I believe a 1950s-type Bond film is a mistake. Bond has to stay relevant.

-Moomoo, CBn forum member

Perfect. Compromise is the answer. the director gets the film, but surrenders ultimate creative control to the producers (as the mix has so successfully stayed since 1962). He continues:

Likewise, the Bond producers need to alter the films a little. I think the films have become too formulaic, too safe and a little flat, and need to be a bit more risky with more edge. I think this boils down to more suspense and more of Bond being a spy. Rather than a director-for-hire like Tamahori, Eon would be wise to get Tarantino for Bond 21. He’d bring a new level of passion to the film.

Tarantino has to respect Eon’s right to keep the classic Bond ingredients in place, but Eon has to allow Tarantino creative room to make his own Bond film. It’s a very fine line to tread, but I think it’s possible if they are willing to compromise. I believe this is worth pursuing.

-Moomoo, CBn forum member,

So, it appears to be a two-way street. But if the path can be kept to, there should be no reason why we couldn’t see a Tarantino directed Bond 21 (disregarding the fact that a director could already have been chosen of course): The rights to the novel are finally in Eon’s hands after over 40 years and the die is cast (if one is to believe reports that a first-draft script handed in by P&W is based on Fleming’s first-born).

To round-up this (unfortunately) rather long-winded editorial, I offer you a quote by CBn forum member “Genrewriter“. Never was a truer and more balanced observation made of the whole affair:

“If the series can survive a film where the finale [has] Bond chasing a midget around a boat, it can survive Tarantino.”

-Genrewriter, CBn forum member

Thanks to Loomis, Genrewriter, Turn and The Silver Beast.

If you agree with me, disagree or otherwise want to discuss this article, visit this thread in CBn’s Bond 21 forums, or simply e-mail me!.

Related Articles:

• Tarantino’s ‘Casino’ Blog A Hoax
• Wall Street Journal Reveals Short List of Bond 21 Directors
• Bond 21 is ‘Casino Royale’
• Tarantino Wants A Shot At Bond
• Tarantino’s Bond Bid

Exclusive: Details on Titan's 'Goldfinger' Revealed (Updated)

MAJOR UPDATE! Aug. 31, 2004:

Good news. I can confirm that the ‘missing’ panel #833 has been located along with some additional material relating to Goldfinger. With regard to the Thunderball strip…this has been another eye opener and the book is likely to include some other rarely seen stuff relating to that story. Can’t give it all away here but I think we are on to another winner here.

Thanks for all your efforts and contributions (you know who you are!). Without CBn I doubt this project would have turned out as well as it has.

Cheers.

-An appreciative Red Grant.

---

James Bond art expert and CBn’s own Titan insider “Red Grant” (webmaster of the terrific The Art of James Bond website) today reveals the details on Titan books Goldfinger, the next-in-line reprint of the classic Daily Express comic strips by Henry Gammidge and John McLusky. But along with this exciting news comes a plea for help.

Prototype cover art – may change.

As part of the continuing series of reprinted James Bond comic strips Titan plan to issue Goldfinger which will be collected with the three short stories Risico, From A View To A Kill, For Your Eyes Only and as an added bonus Thunderball. This will be a superb collection of rarely seen John McLusky strips that originally took two years to appear sequentially in the Daily Express. It is hoped that a full version of Thunderball will be presented instead of the truncated story that originally appeared in the newspaper in 1962. Golden girl Shirley Eaton will be providing the introduction.

However, as is often the case with material of this age, it is not complete and we are missing one panel # 833 from Goldfinger. This was also the case with the recently published On Her Majesty’s Secret Service strip which was completed with the help of fellow CBn member doublenoughtspy. If anyone has a good quality copy of the missing strip (in English and in the normal uncropped format as originally printed in the Daily Express) can they please contact Red Grant ([email protected]) who will evaluate the usability and progress matters with Titan. The Goldfinger strip has been syndicated around the world over the years and there may be someone who has a good quality newspaper or printed copy that they are willing to donate.

Naturally as we are dealing with copyrighted material you will be credited in the book if your contributions are used. The same is also true for the Thunderball strip and any material is welcome. I am lead to believe this story was completed in full and syndicated like the rest but have only ever seen the inferior truncated version reprinted in various formats and languages.

– Red Grant.

Again, if you can help Red Grant and Titan locate the missing panel # 833 for Goldfinger, please email ‘Red’ directly at [email protected]. Goldfinger‘s publication date is November 26, 2004 pending the availability of the missing panel.

Purchase all the Titan 007 graphic novels from Amazon:

• The Man With The Golden Gun
  – Amazon.co.uk or Amazon.com
• Octopussy
  – Amazon.co.uk or Amazon.com
• On Her Majesty’s Secret Service
  – Amazon.co.uk or Amazon.com
• Goldfinger (Pre-Order: release date Nov. 26, 2004.)
  – Amazon.co.uk or Amazon.com
• Casino Royale (Pre-Order: release date Feb 25, 2005)
  Amazon.co.uk or Amazon.com

To discuss this book visit this thread in the CBn Forums
Thanks to Red Grant!

Related stories:

• Titan Books ‘OHMSS’ Now Shipping
• ‘Casino Royale’ Coming From Titan in 2005
• Titan’s ‘Octopussy’ to Include Introduction by Maud Adams
• Classic James Bond Comics To Be Released in February
• Titan to Release Classic James Bond Comic Strips in 2004

Tarantino's 'Casino' Blog a Hoax

An online Blog purported to be the personal diary of writer/director Quentin Tarantino is a hoax. CBn contacted Tarantino’s publicist, Bumble Ward, who confirmed the blog is a creative fabrication.

“It’s fake,” Ward tells CBn. “The guy is doing a great job though, don’t you think? And truly, I’d hate to ruin his fun. But it’s fake. Quentin hardly knows what a mouse is.”

The hoax blog drew the attention of Bond fans yesterday when an entry appeared in which Tarantino lamented the end of his oft-repeated ambition to make a faithful adaptation of Ian Fleming’s first James Bond novel, Casino Royale.

Most Bond fans weren’t fooled (it’s hard to imagine someone like Quentin Tarantino having the time to make daily blog entries), but at least one James Bond website reprinted the phony blog entry in its entirety in the hopes it was indeed Tarantino’s own “candid” comments.

“Pierce wanted to make it but the producers didn’t. We sat down and discussed it but they just didn’t want me to do it. We could have made an “unofficial” experimental Bond film. I think it would have been a lot of fun but it just isn’t going to happen now.”

– Bogus Tarantino blog entry.

While the blog entry is a fake, the sentiment it expresses may be genuine. The chances of Eon going with Quentin Tarantino and his unconventional take seem less likely every day. Purvis and Wade have turned in their draft of the Bond 21 screenplay (which ironically uses elements of the Casino Royale novel) and Eon is said to be close to signing a director.

Keep watching CBn for the latest news on Bond 21.

To discuss this news visit this thread in the CBn forums.
Thank you to Bumble Ward, Bryan O’Donnell, and CBn forum user Martin Mystery for the original alert.

Related articles:

• Tarantino Wants A Shot At Bond
• Tarantino’s Bond Bid
• Bond 21 is ‘Casino Royale’
• Wall Street Journal Reveals Short List of Bond 21 Directors

Buy 006 and Win a 007!

Sideshow Collectables is offering CBn Members a unique opportunity…

Sideshow is nearing the end of their stock on GoldenEye‘s Alec Trevelyan 006 figure. Alec Trevelyan (Sean Bean) is a limited edition of only 750 figures; now is the time to buy before they run out!

If CBn can sell at least 5 Alec Trevelyan figures by August 31st, Sideshow will give CBn a free figure from their James Bond collection for us to give away! Buy through CBn by clicking THIS LINK (it is very important that you buy using that link).

So here’s the deal, only those who buy the Alec Trevelyan figure will be entered in a drawing to win the free figure – which, depending on availability the winner will be able to choose.

Please follow these 3 steps to ensure you are entered to win…

1. Buy the 006 figure through CBn by clicking THIS LINK.
2. Comment in this thread on the CBn forums that you’ve made the purchace.
3. Forward your receipt from Sideshow to (Subject: Your CBn Forum Screen Name) [email protected]

Good Luck!

Titan Books OHMSS Now Shipping

Titan Books On Her Majesty’s Secret Service is now available from online retailer Amazon.co.uk (in the UK) and Amazon.com (in the U.S.). This latest Titan reprint of the classic Daily Express comic strips by Henry Gammidge and John McLusky also includes the collected You Only Live Twice and an exclusive introduction by James Bond himself, George Lazenby! This marks the first time these two classic strips have been collected in English.

CBn forum member “Red Grant” — who is also webmaster of the terrific The Art of James Bond website — hands in this review.

Titan Books OHMSS

I have just received my copy of the soon to be released OHMSS/YOLT comic strip from Titan books and have to say this one is the best yet. Great to see the epic OHMSS complete for the first time…..in fact this is the first time either story has been commercially available since their original run. The quality is marginally better than the two Horak releases with YOLT being slightly fuzzier due to the fact it was taken from newsprint rather than the original art. Black levels are solid on both stories and the detail in Mclusky’s superb illustration shines through. The book has an introduction by George Lazenby (nothing very new here though) and is a worthy addition to the collection of any true Fleming/Bond fan. It is due for publication on 1st September and makes you want the rest of the series even sooner!

CBn is proud to say it was partly responsible for completing this latest Titan edition. Titan was missing the final panel for OHMSS. They contacted the knowledgeable Red Grant for help, and he connected via a CBn posting with fellow forum user doublenoughtspy who owns the entire story archive and was able to provide Titan with the missing panel. Nice work guys!

Titan released the collected The Man With The Golden Gun in March and Octopussy in May. The upcoming Casino Royale and Goldfinger are available for pre-order. No word yet on what extra stories these editions will include or who will be providing the introductions.

To discuss this book visit this thread in the CBn Forums
Thanks to Red Grant and doublenoughtspy.

Related stories:

• ‘Casino Royale’ Coming From Titan in 2005
• Titan’s ‘Octopussy’ to Include Introduction by Maud Adams
• Classic James Bond Comics To Be Released in February
• Titan to Release Classic James Bond Comic Strips in 2004

'GoldenEye: Rogue Agent' Community Day, Part II

THE STORY BEHIND THE STORY

1995: The release of GoldenEye, the film that revived the Bond franchise. 1997: The game, GoldenEye, destined to become the greatest first person shooter of all time. Back in 1995, video games weren’t what they are today. Most studios considered them just another bit of merchandising to license out in the hopes it will generate some extra revenue and interest in the movie. The license to make a GoldenEye video game was signed over to Nintendo by Eon/Danjaq, the producers of the James Bond films, who thought nothing more of it. But when Danjaq got a HUGE check in the mail generated from the sales of this single bit of “merchandising,” (it’s been said the game GoldenEye actually out grossed the film) they decided they should take a look see what this game was all about. When they did, they were horrified! This game didn’t feel like James Bond at all – the suave and sophisticated hero turned in his quick wit for an itchy trigger finger with carefree abandon. Had Danjaq known what was in this game, they would have never approved it.

When EA was awarded the gaming rights to 007, Danjaq was more hands on. They told EA that the games had to be more like the Bond movies: gadgets, cars, stealth, honor, and style — not a mad gunman (although it’s debatable that Eon turned 007 into just that in 1997’s Tomorrow Never Dies, but that’s an argument for another day). EA complied and found success with NightFire and Everything or Nothing, but the specter of the legendary first-person-shooter GoldenEye dogged them.

So EA sat down with Danjaq and told them that they wanted to do another Bond game, but more like a real first person shooter. Danjaq knew exactly what they wanted. “You want to make a sequel to GoldenEye, don’t you?” EA did… but Danjaq resisted, explaining that only a villain would act the way Bond did in GoldenEye. So EA began to think… Bond exists, so what about the villains? Do they have lives apart from Bond? If it were a villain doing the shooting instead of 007, would Danjaq approve a first-person-shooter?

Thus was born GoldenEye: Rogue Agent.

THE MISSIONS (warning: SPOILERS)

The levels in Rogue Agent are long and drawn out with lots of missions.

Level 1 (like a tutorial) — Operation Grand Slam (from the move Goldfinger) takes place at Fort Knox. There are 00 Candidates in training being tested to become 00’s, including you (Rogue Agent a.k.a. “GoldenEye”). You find James Bond clinging to a fallen helicopter balanced over what could be a deadly fall. Bond warns you to stay back, but you move closer anyway… and the indestructible 007 falls to his death (this is the only level where we see 007). Despite this, you continue on the mission, and it’s later revealed that it was all just a Virtual Reality testing center (like in Die Another Day). But your violent tactics don’t meet with MI6’s approval. Your 00 status is revoked and you’re asked to leave.

Back-story: Dr. No had once attempted to murder you by shooting you in the head. You lived, but lost vision in one eye. You wanted to become an agent for MI6 so you could get revenge on Doctor No, but as we have seen, that didn’t work out. Now you’re “on your own and out for revenge,” and you turn to one man who hates Dr. No as much as you do… Auric Goldfinger. (The rumor is true, the game was originally called Goldfinger vs Doctor No.)

Level 2 (Low Key) — Auric Enterprises (in Switzerland?): Goldfinger asks you to sign on with him in a war against Doctor No who is a threat to all the villains of the Bond underworld. Goldfinger gives you the “GoldenEye”, which is bigger than an eye and it taps into your brain and body. Goldfinger has a weapon called OMEN (Organic Mass Energy Neutralizer). While Goldfinger is showing off this weapon, Dr. No attacks.

Level 3 (Hard Core) — Hong Kong: Goldfinger sets you up to meet with an informant who will give you a sniper rifle so you can kill Dr. No. But the Informant betrays you. It was a set up. You are alone in Hong Kong and have to make your way across the rooftops in an attempt to meet up with Pussy Galore who is trying to pick you up in a helicopter. You enter the informant’s bathhouse take care of him.

Level 4 — The Mitas Casino in Las Vegas: At Goldfinger’s headquarters Dr. No is again after the OMEN.

Level 5 — Hoover Dam: You go on a sabotage mission. Dr. No has set up a bomb and you have to stop the bomb from going off. Later, after hearing that Dr. No may be hiding in the spill tunnels, what will you choose to do with the bomb?

Later in the game: You get to see Dr. No’s Crab Key compound and Dr. No’s armory lab (designed by Ken Adam). There you must hack into the computers and get the armor codes and formulas for his special armor. Also near the end of the game there will be a handheld prototype of the OMEN.

Multi-Player: These levels are the smaller places in the films (Moonraker, Satellite uplink facility from GoldenEye, The Golden Gate Bridge w/ Zorin’s Blip) and new creations (GoldenEye/Rogue Agent’s private retreat). Most of the multi-player maps have four-player capacity, except for the GoldenEye Uplink facility, which can only have 2 players because the size of the map is so small (there’s a helicopter in this map which you can destroy). Online multi player maps can have up to 8 players. You’ll be able to play against your friends or the EVIL AI.

CHARACTERS:

The villains in their own universe are powerful.

• Currently voice recording is being done on with the game.
• The game characters voices must sound and behave like the characters in the movie. For example the actor who voiced Goldfinger studies the movie to perfect the larger than life effect that Goldfiger has in the film.
• One of the several crucial twists in the game will be recognizable by the white cat in his lap. He comes in the form of Donald Plesance… and is called “Number 1.” Can you guess who this is?

Pussy Galore: She is the love interest in the game. For her voice over, two voice actors were recorded because the first didn’t sound enough like Honor Blackman. Danjaq is very involved with EA during their creation of the games and have say over a lot of the character and plot choices. For example there’s a scene where Pussy Galore said something to the effect of, “I’m eavesdropping on the police.” Eon said she can’t say that line because the sentence is beneath her… she should be eavesdropping on Dr. No. The change was made.

Scaramanga: Bond has his “Q” in Major Boothroyd, and the villains have their “Q” in Scaramanga, the man with the golden gun. He has access to the black market and he’s the one who assembles the “Goldeneye” device and is responsible for it’s upgrades. Christopher Lee is reprising his roll and provides the voice for this character in the game (see CBn’s story).

The Villains Quirk: Oddjob has his hat (which you’ll have some “encounters” with), Jaws has his teeth, you have your “Goldeneye.”

Taking Sides: Dr. No has a mechanical hand, why not a very Para Military Cyborg army as well. Where as Goldfinger’s Army are Elite Gangsters.

GAME PLAY

Action packed, fast paced and cinematic.

FPS: the entire game is a first person shooter, there’s no driving. But you do have to fight against vehicles.

The GoldenEye: It is electromagnetic based and larger than an actual eye and connects to your mind and body. It knows your health and armor. Your health and eye power will recharge (like in the game X2: Wolverine’s Revenge). The eye’s power charges faster when you are using death traps and doing villainous things. It has many powers including a polarity field to deflect incoming projectiles, a magnetic filed to grab enemies and throw them across the room or drag them towards you so you can steel their weapons (kinda like the Force in Star Wars), and it has MRI powers to help you look through walls. A twist that’s reviled in the middle of the game is that the eye is not purely yours — it’s like a black box, the villains know where you are and everything you’re doing.

Melee Attacks: You can punch an enemy, he will become dazed and you will be able to grab him (take a hostage) and use him as a human shield. You can also knock down enemies by throwing your hostages at them or hitting them hard.

Death Traps: You can use the environment to take enemies out. For example you can operate machines to takes guys out, feed guys to sharks, and in the Moonraker level you can trap guys in conference room in the line of rocket engine fire just like James Bond (Roger Moore) did.

Weapons: You have two hand weapon controls to wield weapons independently of each other. You can mix and match your weapons (1 gun, 2 guns -same or different, 1 gun & grenades, or 1 two handed gun). There are twelve weapons to choose from. Some of which are the Shotgun (duel handed), Pistol (the golden gun), the exotic underworld Viper injector (poison/stun gun), an over changer, a weapon that will shoots through objects, Grenades, and Mine like objects.

Amo Reality: There’s no weapon cycling. You can only carry as many weapons as will fit in you hands. If you’re carrying a machine gun (2 hands) they you’ll have to drip it to pick up something else. The only weapon you always carry is the Golden Gun. There is also no ammunition just laying around for you to pick up. If you gun runs out of ammo the weapon will automatically drop and vanish and you’ll have to pick up another weapon. Weapons will reload automatically or you can reload then hen you want to. Weapons will drop when ammo is out. Unlike most first person shooters, if you have no weapons you’re still powerful (physically & with your GoldenEye), but health does not last long so collect armor.

Violence: The idea of playing a villain opens up the game to be more violent, but not sensational violence. Bond villains are sophisticated, they think and are clever. So since the Bond universe is not about being gross or gruesome there will be no blood in the game and the dead bodies will fade out.

Stealth Missions: during a stealth mission, stealth is not requited even if there are cameras. And speaking of cameras, you will be able to reprogram the security systems. This game calls for less sneaking around (unlike the other Bond games) and more aggressive villainous action.

Rated Teen: During the rating process, the game received 9 points; when you get 10 points the rating rolls over to Mature. So Rogue Agent will technically be a High Teen.

Rogue Moves: Where Everything or Nothing had “Bond Moves” (which had to happen in specific places), Rogue Agent has “Rogue Moves” (which can happen anywhere in the game).

No Jumping: The game will not allow you to jump. The reasoning behind this is so that you don’t just jump and then fall off a building and die because that’s no fun – the game is meant to be fun as well. Plus jumping is very un-villainous; imagine you’re getting shot at and your guy is bouncing around the screen.

Zip Lines: There are zip lines in the game. For example in the Hong Kong level, you can slide down the zip lines from rooftop to rooftop. You wont be able to “jump” off the ziplines and fall to your death – no fun.

Destroyable Sets: Things that change the game play are destroyable, but the environment is not destroyable. The game also avoids the use of object interactions. But you can use weapons, machines, buttons, doors and even grab and throw guys, take hostages and use them as a shield against incoming bullets (you take no damage when you have a hostage).

EVIL AI:

• E = Emotion-Based: what you do influenced the enemy’s emotions and behaviors. Their aggression is based on how you’ve acted; you’re nasty, it’s nasty. It will also react based on what king of weapon you’re using. The AI has fear and if pushed will take their buddies hostage and use them as a shield. And if the AI is wounded it will hide and make you think its dead. You can even get the AI to surrender to you.
• V = Visceral Moments: Every time you play different things will happen with the enemy because the players are not scripted, the game is not scripted (AI has a mind of it’s own unlike bots who are scripted). You’ll see enemies loose their composure, flip out and even grab their own guys to use as shields against your onslaught.
• I = Intelligence: Enemies will use their environment, hiding and ducking behind cover and even flipping the switches of deathtraps on you. But you must know that the AI is so good that the game designers had to make it dumb so you could actually have fun with the game and not die.
• L = Learning: The AI can do everything you can do. Your opponents are aware of their surrounding and will learn your actions, use new cover that becomes available, and even vehicles at their disposal.

Xbox: More is being done graphics wise for the Xbox version of the game because it’s technologically possible. Higher resolution, textures, & more details.

AN INSIDE LOOK

GERA is being developed in 3 locations and 2 countries.

Quicktime MOV 33.7MB

View the first in a series of short movies that EA is releasing “GoldenEye Rogue Agent Undercover 1″

First Young Bond Novel Title and Cover Art Revealed!

In April CBn first reported that Ian Fleming Publications would be publishing a new series of “Young James Bond” novels starting in 2005. Today IFP has announced the title of their first book and revealed the UK cover art.

SilverFin sees a 13-year-old James Bond investigating mysterious goings-on in a Scottish Castle alongside love interest “Wilder Lawless.” This new series of Young Bond novels are being written by BBC comedy writer and thriller novelist Charlie Higson, and are aimed at capturing a younger demographic of Bond fan, as well as those young readers who have made the Harry Potter books such an international sensation.

This is not the first time a “Young Bond” series has been attempted. In 1967 Glidrose published the novel, 003 1/2: The Adventures of James Bond Junior. In 1991 Danjaq launched a James Bond Jr. series of animated cartoons, books, and comics. Both failed to find a wide audience. But with an onslaught of publicity worthy of a Potter novel, Ian Fleming Publications is gambling that this third time will be a charm.

The dark waters around a Scottish castle hold a sinister secret. One man with a thirst for power will use it – whatever the cost. SilverFin is dangerous. SilverFin is the future. SilverFin must be destroyed…

Bond, James Bond.

The legend begins with SilverFin.

SilverFin is due for release in March 2005 with a second yet untitled novel scheduled for November 2005. There are a total of five books planned. SilverFin will be published in the UK by Puffin Books (a division of the Penguin Group), and by Miramax Books in the U.S.

Rumors that Orlando Bloom will be appearing in a movie adapted from the Higson novels are not true.

Watch CBn’s all-new Charlie Higson/SilverFin section for the latest news and reviews of the first Young Bond novel.

To discuss this news visit this thread in the CBn forums.
Thanks to Zoë.

Related articles:

• Pussy Galore…make way for “Wilder Lawless”
• “Miramax Buys Rights to First Two ‘Young James Bond’ Novels”
• “No Laughing Matter”
• Charlie Higson Interviewed on Jonathan Ross BBC Radio 2
• 007 Fans Take Aim at IFP’s ‘Young James Bond’ Concept
• Ian Fleming Publications Announce New Series of “Young James Bond” Novels