Caught Looking: The Awkward Extras of Bond (COMPLETE LIST - UPDATED, ON PAGE 1)

BirdlesonBirdleson San Jose, CA
edited May 6 in Bond Movies Posts: 23,615
You watch these films enough, as we all have, and you begin to notice the oddities in the backs and corners of the frame. For several years I have been saying that I would begin a thread devoted to the extras (and, at times, even those with speaking roles) that sneak a look directly into the lens, threatening the illusion of reality. I will not be including the intentional breaking of the "fourth wall" (Lazenby in OHMSS, Connery in NSNA and, debatably, Brosnan in TND). Most of these have been bugging me for a long time, but hopefully,as I scan the films, I can uncover some new ones.
Once this database is built, all are free to copy,paste and add to it, so long as the following criteria are met:

Criteria -
- As stated; the infraction was evidently not intended by the filmmakers (POV shots, etc.).
- It stands up to scrutiny. No semi-glances that could just as easily be aimed at something slightly off camera.
- Gun Barrels and Title Sequences don't count.
- I will add in the occasional physical give-away, as well. Not obvious stuntmen, that's the Nature of the Beast, but possibly an inefficient custodian or two.

Again, please allow me to get through all 25 films once before any additions are made. Eventually I will meld this into the Stats Thread,
«1345

Comments

  • BirdlesonBirdleson San Jose, CA
    edited July 28 Posts: 23,615
    COMPLETE LIST (Updated)

    THE AWKWARD EXTRAS OF BOND

    DOCTOR NO (1962)
    0:31:24 - As the scene opens on Puss-Feller's Nightclub, the conga player looks into the camera.
    0:31:55 - In Puss-Feller's Nightclub, just as the camera pans past the bug-eyed, spastic dancing of Count Prince Miller, the woman with whom he is dancing is looking into the camera lens; she then quickly looks away.

    FROM RUSSIA WITH LOVE (1963)
    0:24:45 - As Bond walks through the airport in Istanbul, the instant when Kerim Bey's Son/Chauffeur calls out to him by name (immediately before he comes into view), on the right side of the screen, a woman with red hair and a red shirt, who is keeping pace with Bond, looks straight into the camera's lens.
    1:07:24 - After Kerim, Bond and Tatiana board the Orient Express, we see that Grant is already on board leaning out of a window. As the camera moves in, and the train heads towards the left, out of the frame, and as Grant shuts his window, the woman with brown hair looking out of the window to his right (our left) looks straight at the camera.
    1:16:07 - As the Orient Express heads towards the horizon, on our right is a man wearing a cap, leaning on a stick. The brief moment before the scene cuts away he turns his head directly to the camera.
    1:42:10 - As Bond (stuntman) scampers down the hill away from the burning helicopter (heading screen right), the back of Connery, dressed in the same outfit, can clearly be seen crawling up the hill, mostly covered by grass and a ditch. When they cross, the stuntman drops down, as Connery pops up and takes his place (the film cuts away during the actual changeover, it must have been even more obvious.

    GOLDFINGER (1964)
    0:10:50 - The black-haired girl in the bikini with the rainbow colored towel at screen-left gives the camera a quick peek.
    1:02:24 - I first noticed this one a few years back, but didn't think to include it, as it is more glaringly a case of a male stuntman portraying a woman (there are several in the series). As Pussy Galore's Flying Circus comes in for a landing, it is very clear in the remastered prints that all of the pilots are men in wigs. The pilot of the last plane to taxi in from screen-left is also looking towards the camera as he comes into view (the rest of the squad are looking forward, toward screen-right).

    THUNDERBALL (1965)
    0:52:34, 0:52:39 - As Bond and Domino walk onto the dance floor, they pass by an older woman with blond hair and a green dress dancing with a man. She looks flagrantly at the camera, more than once.
    1:15:30, 1:15:36 - Various locals in the crowd at the Junkanoo looking into the camera: First some young men, then one of the pageant Queens riding on a float.
    1:27:14 - Not quite what the thread was intended to catch, and I've already listed it in the Animals of Bond stats, but I feel I need to include the dog taking a piss in the middle of the street, dead center in the shot, at the Junkanoo.

    YOU ONLY LIVE TWICE (1967)
    0:05:42 - PTS: After Bond is "shot", the scene shifts to an exterior evening shot. There are hordes of Japanese citizens standing on the sidewalk; some watching the incoming ambulance, some looking at the camera crew. Storywise, they theoretically could be interested in the murder and that's why they are gawking (I'm confident that's what Broccoli, Saltzman and Gilbert wanted us to believe), but it sure doesn't look that way.

    ON HER MAJESTY'S SECRET SERVICE (1969)
    0:48:20 - When Bond arrives at the Swiss Alps, disguised as Sir Hilary Bray, and he is waiting for Irma Bunt , there is a close-up of him in front of a window of the bus he had disembarked from. Looking out of the window, over Bond's shoulder, is a young man who is glaring at the camera.
    0:59:12 - This is a strange one that I noticed for the first time about a year ago. When Bond as Hilary is explaining what a genealogist is to the "Angels of Death", we have an extended shot with Bond in the center, sitting on a couch, surrounded by five of the Girls. Inexplicably (this may be the only instance where the screw up seems to be deliberately perpetrated by an actor), the Australian Girl (played by Anouska Hempel), in the middle of Bond's explanation looks dead into the camera, and then gives a quick nod before turning back to Bond.
    2:17:15 - As Q congratulates Bond and Tracy at their wedding, an old man is looking into the camera from in-between Bond and Tracy's shoulders. He continues to do so as Tracy walks off screen.

    DIAMONDS ARE FOREVER (1971)
    0:16:04 - As the hovercraft carrying Bond leaves for Amsterdam, we can see a female passenger, third window to the left of the ladder that separates the nose from the body, waving to the camera. I guess she could be waving to a loved one, but the logistics seem to say not.
    1:04:26 - 1:05:51 - Numerous shots of crowds of tourists gathered at various spots on and around the Las Vegas Strip, obviously to watch the car chases and stunts being filmed.

    LIVE AND LET DIE (1973)
    0:03:49 - PTS: After the assassination of Hamilton in New Orleans, one of the street mourners/revelers, a woman with black hair and a black dress, holding an umbrella, looks directly into the camera.
    0:16:20 - As with DAF, when Bond is talking to Felix on the car phone, after being run off of the FDR in NYC, a group of onlookers has gathered across the street. They are organized in such a fashion as to suggest they are there to watch the filming rather than there as a crowd viewing the aftermath of an accident. One gentleman in a yellow shirt, with thinning hair (visible between Bond and an NYPD officer), seems particularly intent on watching the filming.
    0:42:34 - Something a bit different; it's been mentioned on these boards at least once in the past, and I noticed it back in the '70s. It's when Rosie Carver stares fixedly (and distractedly) at something off-screen as she and Bond walk along the pier. Odd as all Hell, and it does not appear to be planned.
    0:58:11 - As Bond and Solitaire approach the bus that they will soon hijack, they walk by an old islander woman wearing a kerchief, who is sitting on a bench, apparently selling fruit. Immediately before the pair pass in front of her she looks directly into the camera.
    1:09:05 - Funeral dance in New Orleans again; this time following the off-camera killing of the Mighty Strutter. A young man in a suit, screen-right, looks into the camera.

    THE MAN WITH THE GOLDEN GUN (1974)
    0:05:49, 0:05:52 - PTS: Not quite the same, but it does deal with eyes and looking with them. When the "animatronic" Al Capone and his boys open fire on Rodney, his eyes blink. Twice.

    THE SPY WHO LOVED ME (1977)
    1:02:21 - As Q is showing Bond and Anya around the Lotus, there are, obviously, as there would be, many gawkers; but one boy, who seconds earlier walked across and off the screen, is at screen-left facing screen-right. He then turns to look into the camera and laughs. I had to replay this one several times in slow motion in order to be sure.

    MOONRAKER (1979)
    0:34:05 - As Bond is about to enter the Venni glass house, immediately before he looks at the card, a couple of post-middle aged tourists (a balding man with sunglasses and a camera, with a much shorter woman with sunglasses) that are at the far right of the screen, lower halves hidden behind a statue, stare at Moore and the camera; man first, followed by woman.
    0:40:32 - As Bond's gondola takes to land in the Venice plaza, the accordion player quickly sneaks a peak at the camera, then looks away again.
    0:58:38, 0:59:18 - At Carnival in Rio, two instances of staring straight into the lens; Man at screen-right behind the lady in lavender, Guy in a soccer shirt with a T on the breast, respectively.

    FOR YOUR EYES ONLY (1981)
    0:36:35 - It is only for the briefest of moments, but the red-haired woman seated behind Kristatos does a quick stare into the camera, then continues turning her head as if nothing happened.
    0:59:32 - As Bond and Melina come upon the men dancing to the live music in the Greek marketplace, the guitarist at screen-left takes a quick peek into the camera lens.

    OCTOPUSSY (1983)
    0:23:30 - The older guy with a mop of gray hair, sitting behind Bond and Fanning. Earlier, during the bidding, it made sense that he would be staring at the pair of men while following the action. But here, after the egg has been sold, it is obvious that he is just trying to get a few peeks in; at Bond and Fanning, and also into the camera.
    0:36:25 - During the rickshaw chase the camera works it's way through a crowd. Several of the scarfed girls (and others behind them) look into the lens. I thought this might have been intended as a POV shot, but after watching it several times I am convinced that it is not.
    0:39:39 - During Q scene, after Q says, "Experimental model", we cut to Smithers. The lab assistant on the (screen) left behind the desk is looking at the camera for a half-second, was if waiting for a cue (from Q, who isn't in a queue), before pretending to work. (39:39)
    0:50:31 - The guard in the red headscarf, standing behind Gobinda, looks into the camera three times.

    NEVER SAY NEVER AGAIN (1983)
    0:43:20 - When Bond first arrives in the Bahamas he walks past two islander women who both seem to look at him as he does so. However, the one closer to the foreground (half obscured by hanging shells) continues to peer straight ahead into the camera lens.
    0:44:56 - 0:45:42 - I'm not 100% about this one, but enough so that I'm including it. After Nigel and Bond walk past the row of white pillars, they stop and continue their chat face to face. On screen-left, on the far side of the street, there is a group of men who appear to be at that spot for no other reason than to watch the filming.
    0:54:11 - As Fatima Blush walks past the hotel reception desk she passes a female receptionist who first watches her then (briefly) looks into the camera.
    1:07:51 - As Domino walks through the arcade, she goes past a guy playing Centipede, he turns to look at her rear end and then looks into the camera.

    A VIEW TO A KILL (1985)
    0:14:13 - As a victorious Pegasus is led past bleachers full of admiring racing fans, the camera pans upward; at screen-right a woman in a long red-orange dress, arms locked with a man on her left, wearing a bonnet, walks forward to the guardrail looking and smiling directly into the camera's lens.
    0:15:16 - A woman standing behind and between Bond and Moneypenny first looks tentatively, then more brazenly, into the camera.
    1:32:42 - This one is another oddity; it has more to do with an extra overacting than anything else. As Bond carries Stacey down the ladder to safety from the burning San Francisco City Hall, we get a crowd shot. For years I have been fascinated by the tall guy with the dopey mustache and the dark sweater who is clearly visible at pretty much center-screen. I get a kick out of the exuberance with which he whoops and thrusts his fist into the air. It comes off as completely artificial and it cracks me up.

    THE LIVING DAYLIGHTS (1987)
    0:55:58 - This older couple walking right in front of the camera. I always assumed that they must have been friends of Cubby in order to get their mugs plastered up front in a Bond film in such a way. He's wearing sunglasses, so it's hard to be certain, but the bald guy seems to be looking right at us; and even if he isn't, that cocky, obnoxious grin is enough to make me want to smack that giddiness right out of him.
    1:33:12 - The big hairy guy, standing screen-right, wearing a turban, is following the camel walking in front of him with his eyes, but for one flash of an instant he give into temptation and looks into the camera lens.

    LICENCE TO KILL (1989)
    0:08:30 - PTS: As Bond hugs Della, after the parachute jump, the woman to the left of the screen (behind the shoulder of Della's Uncle) gives the camera an unabashed look.
    0:08:33 - PTS: As does (a mere three seconds hence) an alter boy standing to the left (our right) of the priest.
    0:22:59 - There are a woman and a boy walking on the sidewalk, coming towards the foreground, on screen-left as Bond pulls his car up to the front of Felix's house. They are obviously behind the mark, as when Bond arrives the woman looks panicky and nudges the boy forward. I don't know if they received an outside cue, or the woman improvised, but they both pick up speed and get out of that shot at a jog. Surely Glen must have noticed, but he probably decided (correctly) that the few people who may pick up on it weren't worth the time, money and effort required to reshoot the one short clip.
    2:08:59 - The guy is slick, but I caught him. Screen-right, the guy in the tux, facing the camera. Gives a brief look, then pretends to cough.

    GOLDENEYE (1995)
    0:51:32 - 0:52:01 - It may have been done before or since, but here it is uncomfortably clear that the aged Desmond Llewelyn as Q is reading off posted cue cards. Odd that Campbell couldn't have done a better job of finding a solution to this problem, as the next two films seemed to (for the most part) deal with the issue effectively.

    TOMORROW NEVER DIES (1997)
    0:05:43 - PTS: As Bond enters the jet, we see Henry Gupta with two associates. As Gupta yells, "Get that jeep!", in a mid-shot, one of the associates (a guy with the brimmed hat standing behind Gupta) stares directly into the camera lens, then sheepishly looks away.
    0:30:48 - As the camera pans down to the crowd in front of Carver's press extravaganza, at the head of the line on our right is an army officer, full-body shot. When Bond pulls up, the officer is staring into the camera. In the next shot we move in closer and he is looking at Bond, then to the side, then he does seem to glance into the camera briefly once more.

    THE WORLD IS NOT ENOUGH (1999)
    0:31:47 - This kid has always bugged the Hell out of me. To the right (our right) of Elektra, wearing a white fez with some red embroidery. He's doing that goofy fake cheer (many are, but he stands out as goofier), and on top of that, he looks into the eye of the camera. He doesn't even seem to fit in ethnically; I think that he must be the son of someone close to, or in, EON.
    0:46:27 - Woman at screen-left, with a choker and holding a tray carrying two glasses of champagne, ventures a quick, guilty-ridden glance at the camera.

    DIE ANOTHER DAY (2002)
    0:52:17 - I had to really slow this one down in order to be sure; it is that brief. Bond is in the center of a gaggle of photographers taking snapshots of Graves entering Buckingham Palace where he will be knighted. The furthest male photographer from Bond on his left (our right), lowers his camera and then stares (it's almost too fast to catch) into the camera's lens. You know he's not watching Graves, because everyone else in the shot (aside from Bond, he's doing his own thing) is looking off in another direction.

    CASINO ROYALE (2006)
    0:25:43 - After Bond deplanes in Nassau, and is walking towards the camera, the woman behind him (blonde, sunglasses pushed up on top of her head, pale yellow shirt) briefly looks into the camera's lens.

    QUANTUM OF SOLACE (2008)
    0:09:05 - This one was a bit tricky, but I'm satisfied. When we get this section of crowd shot at the horse race, all participants are looking somewhat towards the direction of the camera, but looking at something off on screen-right. One woman, nearly dead center of the shot, with yellowish hair (a boy being carried by his father walks in front of her, temporarily blocking her from our view), is the sole person seeming to look into the camera lanes. After the boy passes she does not seem to be doing so anymore.
    0:26:10 - This one is well known among the fan community. The maintenance worker on the docks with the push broom is only pretending to sweep; and not very well, at that.

    SKYFALL (2012)
    1:32:06 - 1:32:10 - As Bond exits the tube through a service door, and joins the throngs in the station, on screen-right a brunette gal's huge head walks towards and past the camera, giving a clear look into the camera lens. Three seconds later, same shot, a woman further back looks over the shoulder of a guy wearing an black coat into the camera.
    1:33:59 - As Bond enters the rear car of the underground train, at screen-left a guy who's in the foreground takes a quick, but definite, glance into the camera.

    SPECTRE (2015)
    0:01:41 - PTS: I can't tell if this is a child or a short woman, but whoever they are they are wearing a puffy black dress with purple trim, and a wide brimmed hat decorated with yellow and red flowers. She is initial at screen-right, but as Sciara, and then Bond and Estrella, pass her in the Day of the Dead crowd he position shifts. Her eyes are not visible, but it is clear that she is physically mugging (a little jig) for the camera.
    0:08:01 - As Bond follows Sciara through the crowd, he passes a group of men in white shirts apparently steering a float. The first two he passes look into the camera simultaneously.
    0:49:36 - This really shouldn't and doesn't count, but I have to make note of this at every opportunity. The sudden close-up of CGI Mr. Hinx driving the Jaguar in Rome. It is so insane it is probably my favorite moment in the film. The first several times that I watched the film in the theatre, I actual jumped in fright when it cut to that shot.
  • DarthDimiDarthDimi Behind you!
    Posts: 15,392
    I admire the work you will put into this, @Birdleson!
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    Most of them I've noticed over the years.
  • Posts: 5,928
    I've seen the DN one in the nightclub. I'm also quite sure I've seen one in a later Connery film; could it have been DAF, in the casino?
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    DAF has the crowds on the strip, maybe the casino (we'll see soon), obvious ones coming up in TB and OHMSS.
  • Posts: 5,928
    Birdleson wrote: »
    DAF has the crowds on the strip, maybe the casino (we'll see soon), obvious ones coming up in TB and OHMSS.

    No doubt there's some crowded scenes in TB/OHMSS where an extra might have looked into the camera as well. Interesting thread!
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    edited March 21 Posts: 9,117
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?
  • DragonpolDragonpol Schloss Drache.
    edited March 21 Posts: 12,214
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    On the FRWL man, was it ever conclusively disproved that it wasn't Fleming?

    The man in question did seem to have a shooting stick as the Orient Express went by, as Fleming had on his visit to the set in Istanbul at the time. They both had on similar white garb too, mind.
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    So far as I can tell, no.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    edited March 21 Posts: 9,117
    Dragonpol wrote: »
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    On the FRWL man, was it ever conclusively disproved that it wasn't Fleming?

    The man in question did seem to have a shooting stick as the Orient Express went by, as Fleming had on his visit to the set in Istanbul at the time.
    I think on bluray you can see he's some sort of swarthy Balkan goat herder or something.
    Birdleson wrote: »
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    So far as I can tell, no.

    That looks like a bloke turning and looking at the camera to me.

    But I don't think it's Fleming.
  • BirdlesonBirdleson San Jose, CA
    edited March 22 Posts: 23,615
    THE BAD EXTRAS OF BOND

    DOCTOR NO (1962)
    0:31:55 - In Puss-Feller's Nightclub, just as the camera pans past the bug-eyed, spasmatic dancer, the woman with whom he is dancing is looking into the camera lens, she then quickly looks away.

    FROM RUSSIA WITH LOVE (1963)
    0:24:45 - As Bond walks through the airport in Istanbul, the instant when Kerim Bey's Son/Chauffeur calls out to him by name (immediately before he comes into view), on the right side of a screen, a woman with red hair and a red shirt, who is keeping pace with Bond, looks straight into the camera's lens.
    1:07:24 - After Kerim, Bond and Tatiana board the Orient Express, we see that Grant is already on board leaning out of a window. As the camera moves in, and the train heads towards the left, out of the frame, and as Grant shuts his window, the woman with brown hair looking out of the window to his right (our left) looks straight at the camera. (This was one of the first one's that I ever noticed; years ago)
    1:16:07 - As the Orient Express heads towards the horizon, on our right is a man wearing a cap, leaning on a stick (not Ian Fleming). The brief moment before the scene cuts away he turns his head directly to the camera. (Thanks @Dragonpol !)

    GOLDFINGER (1964)
  • DragonpolDragonpol Schloss Drache.
    Posts: 12,214
    Dragonpol wrote: »
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    On the FRWL man, was it ever conclusively disproved that it wasn't Fleming?

    The man in question did seem to have a shooting stick as the Orient Express went by, as Fleming had on his visit to the set in Istanbul at the time.
    I think on bluray you can see he's some sort of swarthy Balkan goat herder or something.
    Birdleson wrote: »
    Must be plenty of Indian extras in OP you could pick out.

    In FRWL doesn't that bloke standing by the track (who it was thought for many years was Fleming) turn and look at the camera?

    So far as I can tell, no.

    That looks like a bloke turning and looking at the camera to me.

    But I don't think it's Fleming.

    The man seems to have a blue cap on his head too, which suggests it is not in fact Fleming as there are no pictures of him wearing a blue cap while on the set of FRWL in Istanbul.
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    I'll go back and give it another look soon.
  • MooseWithFleasMooseWithFleas Philadelphia
    Posts: 2,268
    Love this thread, thanks for your constant attention to detail @Birdleson
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    Thank you @MooseWithFleas .
  • ThunderfingerThunderfinger Christmas Jonestown
    Posts: 29,043
    Oliver Hardy used to look at the camera as a recurring gimmick whenever he was frustrated about something. Usually about Stan Laurel s stupidity.
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    THE GAPING EXTRAS OF BOND

    DOCTOR NO (1962)
    0:31:55 - In Puss-Feller's Nightclub, just as the camera pans past the bug-eyed, spasmatic dancer, the woman with whom he is dancing is looking into the camera lens, she then quickly looks away.

    FROM RUSSIA WITH LOVE (1963)
    0:24:45 - As Bond walks through the airport in Istanbul, the instant when Kerim Bey's Son/Chauffeur calls out to him by name (immediately before he comes into view), on the right side of a screen, a woman with red hair and a red shirt, who is keeping pace with Bond, looks straight into the camera's lens.
    1:07:24 - After Kerim, Bond and Tatiana board the Orient Express, we see that Grant is already on board leaning out of a window. As the camera moves in, and the train heads towards the left, out of the frame, and as Grant shuts his window, the woman with brown hair looking out of the window to his right (our left) looks straight at the camera.
    1:16:07 - As the Orient Express heads towards the horizon, on our right is a man wearing a cap, leaning on a stick. The brief moment before the scene cuts away he turns his head directly to the camera.

    GOLDFINGER (1964)

    THUNDERBALL (1965)
    0:52:34, 0:52:39 - As Bond and Domino walk onto the dance floor, they walk by an older woman with blond hair and a green dress dancing with a man. She looks flagrantly at the camera, more than once.
    1:15:30, 1:15:36 - Various locals in the crowd at the Junkanoo: First some young men, then one of the pageant Queens riding on a float.
    1:27:14 - Not quite what the thread was intended to catch, and I've already listed it in the Animals of Bond stats, but I feel I need to include the dog taking a piss in the middle of the street, dead center in the shot, at the Junkanoo.

    YOU ONLY LIVE TWICE (1967)
    0:05:42 - During the PTS, after Bond is "shot", the scene shifts to an exterior evening shot. There are hordes of Japanese citizens standing in a large group on the sidewalk; some watching the incoming ambulance, some looking at the camera crew. Storywise, they theoretically could be interested in the murder and that's why they are gawking (I'm sure that's what Broccoli, Salesman and Gilbert wanted us to believe), but it sure doesn't look that way.

    ON HER MAJESTY'S SECRET SERVICE (1969)
    0:48:20 - When Bond arrives at the Swiss Alps, disguised as Sir Hilary Bray, and he is waiting for Irma Bunt , there is a close-up of him in front of a window of the bus he had disembarked from. Looking out of the window, over Bond's shoulder, is a young man who is glaring at the camera. (First time I ever noticed that one)
    0:59:12 - This is a strange one that I noticed for the first time about a year ago. When Bond as Hilary is explaining what a genealogist is to the "Angels of Death", we have an extended shot with Bond in the center, sitting on a couch, surrounded by five of the Girls. Inexplicably (this may be the only instance where the screw up seems to be deliberately perpetrated by an actor), the Australian Girl (played by Anouska Hempel), in the middle of bond's explanation looks dead into the camera, and then gives a quick nod before turning back to Bond.
    2:17:15 - As Q congratulates Bond and Tracy at their wedding, an old man is looking into the camera from in-between Bond and Tracy's shoulders. He continues to do so as Tracy walks off screen.

    DIAMONDS ARE FOREVER (1971)
    1:04:26 - 1:05:51 - Numerous shots of crowds of tourists gathered at various spots on and around the Las Vegas Strip, obviously to watch the car chases and stunts being filmed.
  • Posts: 323
    Shouldn't it be 'gawping', and not 'gaping'?
  • edited March 25 Posts: 5,928
    Never noticed any of those in OHMSS. Thinking of maybe rewatching the film during easter (didn't have the opportunity last Christmas), and will try to look for those extras myself.

    Were there any extras looking at the camera inside the casino in DAF?
  • Posts: 2,933
    shamanimal wrote: »
    Shouldn't it be 'gawping', and not 'gaping'?

    Defined as to stare with an open mouth.

    Don’t look at the other definitions or it’ll put you right off.
  • BondAficionadoBondAficionado Former IMDBer
    Posts: 1,219
    @Birdleson How long before you get through the films and we can contribute? In any case, I'll keep an eye out for any instances next time I view a movie and keep a mental note of it.
  • ThunderfingerThunderfinger Christmas Jonestown
    Posts: 29,043
    Another good excuse for Birdleson to watch all the Bond films.
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    @Birdleson How long before you get through the films and we can contribute? In any case, I'll keep an eye out for any instances next time I view a movie and keep a mental note of it.

    Another week or so.
    Another good excuse for Birdleson to watch all the Bond films.

    Of course.
  • edited March 25 Posts: 5,928
    Just in a week? that's impressive!
    Don't watch many more movies than that in a one-year period.
  • BirdlesonBirdleson San Jose, CA
    Posts: 23,615
    Probably another two weeks, actually. But soon.
  • edited March 25 Posts: 5,928
    Birdleson wrote: »
    Probably another two weeks, actually. But soon.

    Still, though. That's a movie a day, at least!
  • Creasy47Creasy47 In Cuba with Natalya.
    Posts: 30,358
    Birdleson wrote: »
    THE GAPING EXTRAS OF BOND

    DOCTOR NO (1962)
    0:31:55 - In Puss-Feller's Nightclub, just as the camera pans past the bug-eyed, spasmatic dancer

    I absolutely cannot watch this movie without this guy standing out to me in this scene every single solitary time. Looks like he did a ton of cocaine and felt like dancing his ass off.

  • Posts: 7,008
    Creasy47 wrote: »
    Birdleson wrote: »
    THE GAPING EXTRAS OF BOND

    DOCTOR NO (1962)
    0:31:55 - In Puss-Feller's Nightclub, just as the camera pans past the bug-eyed, spasmatic dancer

    I absolutely cannot watch this movie without this guy standing out to me in this scene every single solitary time. Looks like he did a ton of cocaine and felt like dancing his ass off.

    I always loved that bit with him dancing. He really gets into it. I wonder who he is and if he's still around? I think it would be cool for someone to track him down and do an interview. Maybe James Bond Radio?
  • BirdlesonBirdleson San Jose, CA
    edited March 26 Posts: 23,615
    vzok wrote: »
    shamanimal wrote: »
    Shouldn't it be 'gawping', and not 'gaping'?

    Yes, both terms have the exact same meaning. Still, I am not really happy with the title, either. It's in flux until I settle on one that I like.
  • MooseWithFleasMooseWithFleas Philadelphia
    edited March 26 Posts: 2,268
    ToTheRight wrote: »
    I always loved that bit with him dancing. He really gets into it. I wonder who he is and if he's still around? I think it would be cool for someone to track him down and do an interview. Maybe James Bond Radio?

    Count Prince Miller, Jamaican musician and has made occasional acting appearances including his extra spot in DN and most recently he had a minor part in the latest Kingsman movie.

    Short clip of him performing

    He's still alive now in his early 80s, you can get his autograph at Bond Stars, I bought one a few years back as I too am obsessed with his minor role, his passion that always gets me to laugh and put me in a good mood whenever this scene comes up.
Sign In or Register to comment.