On This Day

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• RichardTheBruce I'm motivated by my Duty.

  August 1 Posts: 14,668

  August 2nd
  
  1910: Jack Whittingham is born--Scarborough, North Yorkshire, England.
  (He dies 3 July 1972 at age 61--Valletta, Malta.)

  
  Tuesday, July 01, 2008

  The Name’s Whittingham, Jack Whittingham

  See the complete article here:
  

  http://therapsheet.blogspot.com/2008/07/names-whittingham-jack-whittingham.html

  EDITED BY J. KINGSTON PIERCE
  
  With Sebastian Faulks’ Devil May Care sitting pretty atop British bestseller lists, espionage fiction seems to be all the rage. There is, however, another book, also featuring iconic British secret agent James Bond, that’s had an evolution almost as complex as one of Ian Fleming’s plots. That book is of course the revised second edition of Robert Sellers’ The Battle for Bond, a controversial work detailing the legal wrangling over the rights to Thunderball (1961).
  
  The first edition, which contained a foreword by Raymond Benson (who was the last Bond writer prior to Faulks), was withdrawn from sale shortly after its 2007 release due to legal action from the Fleming family and estate. There a few copies of this collector’s item knocking around, but you’ll need a big checkbook to secure one. If you haven’t done so yet, though, I am pleased to report that Sellers and the independent publisher Tomahawk Press have finally released the second edition, sans the sections that caused the Fleming estate to complain. This revision features a foreword Len Deighton, who concentrates in his essay on long-ago charges of plagiarism leveled against author Fleming. This is a topic that should be familiar those of you who pay attention to the Rap Sheet, since we recalled the case in an obituary of Kevin McClory, the Thunderball collaborator who died in 2006. That case’s resolution included a provision stipulating that all future editions of the novel Thunderball include the writing credit “based on a screen treatment by Kevin McClory, Jack Whittingham, and Ian Fleming.”
  
  Very little has been written about the relatively enigmatic Whittingham. But earlier this week the London Times carried a longish report focusing on his daughter, Sylvan Whittingham Mason, who apparently provided much of the background mosaic for Seller’s book. As writer Giles Hattersley explains:

  Like a latterday Ms. Moneypenny, she holds the secrets of James Bond. Her name is Whittingham. Sylvan Whittingham.
  
  Is she Ian Fleming’s daughter? God, no. Fleming’s name is anathema here. Her father was Jack Whittingham, a celebrated screenwriter of the 1950s and 1960s. It was Jack, she claims, who gave us Bond as we know him.
  
  In 1959, Whittingham’s father had been brought in by the film producer Kevin McClory to work on an original screenplay based on Fleming’s famous secret agent. (Fleming had had an earlier bash at writing his own, but forgot to put any action in it.)
  
  The problem of how to film Bond had rumbled on for years. What passed for steely cool in the books would come off as charmless froideur on screen. But man-about-town Jack turned out to be the fire to Fleming’s ice. In a tobacco-stained study at his Surrey home, the dashing, hard-drinking ladies’ man produced a thrilling tale called Thunderball. And he injected Fleming’s uptight gentleman spy with quippy humour, arch sexuality and plenty of action. Rather like Jack, in fact.
  
  “I always say that Daddy was an honourable man,” says Whittingham, now 64, in a voice that seems to come courtesy of Diana Rigg. “Except when it came to women, of course.” She smiles.
  
  “But he was a marvellous writer and they’d had real trouble with Fleming’s novels. The violent, sadistic, colder, misogynistic Bond of the books didn’t work on the big screen. The audience, back then, didn’t want it. There was no humour, no charm. Daddy turned Bond into the suave hero they needed.”

  This is a fascinating article, really, detailing the playboy similarities between Bond, Fleming, and Wittingham. In the Times, Mason quite clearly credits her father (who died in 1972) with molding 007 into the man who could support a successful long-running film franchise.

  ... Jack had been toughened by a Bond-like life of fast cars and faster women. Born the son of a Yorkshire wool merchant, he had oozed confidence as a young man and made a splash with the ladies when he went up to Oxford.
  
  “He met Betty Offield there, heir to the Wrigley’s gum fortune,” says Sylvan. “They fell in love and she invited him over to America to stay. They used to go shark-fishing off her island in California. Later, he bought a solitaire diamond ring and went to Chicago to propose--but by the time he got there, she’d fallen for somebody else.
  
  “In a bar, drowning his sorrows, he met a female gangster called Texas Guinan--a glamorous blonde--who took him on. She sent him all over town with deliveries for her, probably drugs. He became her pet for a while, before he sold the ring so he could afford to get home.”
  
  After a stint in Iceland during the war--where he was permanently sloshed and would often fall down on parade--Jack returned to England and his wife, Margot, whom he had married in 1942. He was never faithful. “My mother was stunningly beautiful, with a frightened-rabbit look in her eyes, which were violet. She was a lost soul: mental problems, breakdowns, depression,” Sylvan says.

  
  Posted by Ali Karim at 11:53 AM

  
  

  

  
  1949: Madeline Smith is born--Garfield, Sussex, England.
  
  1961: First flight of the Wallis WA-116 Agile, a British autogyro.

  http://www.jamesbondlifestyle.com/product/little-nellie-wallis-wa-116-agile-series-1-gyroplane

  
  
  
  
  
  
  
  
  

  
  1974: The Man With the Golden Gun films the final game of cat and mouse in Scaramanga's funhouse.
  1976: The scheduled date for The Spy Who Loved Me to begin filming, after Kevin McClory's failed legal attempts to block that production and receive rights to Bond material beyond just remaking Thunderball.
  
  1982: Octopussy lead actress Maud Adams tells the Los Angeles Times she screen tested with James Brolin.

  
  
  

  
  2012: Vintage Publishing releases eight Fleming Bond novels in paperback.

  

  2016: Funny or Die releases James Bond: Secret Pokémon Go Agent.

  

  2017: Dynamite Entertainment releases James Bond comic Black Box #6 of 6 available in print and online.
  Rapha Lobosco, artist. Benjamin Percy, writer.

  

  JAMES BOND #6

  https://www.dynamite.com/htmlfiles/viewProduct.html?CAT=DF-James_Bond_Black_Box
  Cover A: Dominic Reardon
  Cover B: Jason Masters
  Cover C: Patrick Zircher
  Writer: Benjamin Percy
  Art: Rapha Lobosco
  Genre: Action/Adventure, Media Tie-In
  Publication Date: August 2017
  Format: Comic Book
  Page Count: 32 Pages
  ON SALE DATE: 8/2

  James Bond #6, "Blinded"
  
  In the action-packed finale of the Black Box story arc, James Bond descends into the secret headquarters of Saga Genji -- deep below the Fukushima nuclear reactor -- where he finds himself lost in a labyrinth of dark tunnels and political deceptions. He must overcome both his cyber terrorist adversaries and American and British allies to destroy the black box of vulnerable data that threatens to upend the world.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  2020: The Simple Things celebrates scrambled eggs and James Bond.

  

  
  Photography: Clare Winfield

  Eggs: scrambled, not stirred

  See the complete article here:
  

  https://www.thesimplethings.com/blog/007-scrambled-eggs

  August 2, 2020
  Why scrambled eggs were nearly the undoing of James Bond but are still the best breakfast
  
  It was Fay Weldon who originally advised us all to 'Go To Work on an Egg’ for the Egg Marketing Board in the 1950s. And it seems James Bond took her at her word.
  
  If you expected Bond’s favourite dish to be something a little sexier, think again; Britain’s most famous spy liked nothing more than a plate of scrambled eggs and was regularly depicted getting stuck into a plate of them, with bacon, or kidneys… always with a fancy tipple. In fact, there are only three of the Ian Fleming books in which they don't appear (if you’re interested, they are From Russia With Love, The Man with the Golden Gun and You Only Live Twice). It must be pointed out that 007 does eat eggs in all those books, too, just not scrambled.
  
  They made so many appearances in Live and Let Die that a proof reader pointed out to him that Bond’s scrambled egg habit was so impressive it may be his undoing; for any enemy on his tail would only have to nip into a restaurant and ask if an Englishman eating scrambled eggs had been in. He eventually edited a few instances of scrambled eggs out of the second draft, but Bond’s penchant for his favourite breakfast was, in general, unswerving.
  
  In his short story "007 in New York", Fleming included a recipe for ‘Scrambled Eggs James Bond’, which you might like to try for brunch this weekend. It serves four.

  Scrambled Eggs James Bond
  12 fresh eggs
  Salt and pepper
  5-6 oz. of fresh butter

  
  Break the eggs into a bowl. Beat thoroughly with a fork and season well. In a small copper (or heavy bottomed saucepan) melt 4oz of the butter. When melted, pour in the eggs and cook over a very low heat, whisking continuously with a small egg whisk.
  
  While the eggs are slightly more moist than you would wish for eating, remove the pan from heat, add rest of butter and continue whisking for half a minute, adding the while finely chopped chives or fines herbes. Serve on hot buttered toast in individual copper dishes (for appearance only) with pink champagne (Taittinger) and low music.

  It’s a certainly a classic recipe, but if you’re looking for something a little different, don’t miss our feature on second breakfasts on page 34 of our August issue. It includes a recipe for the Indian Scrambled Eggs with Naan (above), as well as homemade beans on toast, bay-roasted grapes and ricotta on toast and a delicious frittata, all taken from Home Bird: Simple Low-Waste Recipes for the Family and Friends by Megan Davies (Ryland Peters and Small) with photography by Clare Winfield.

  
  
  https://www.thejamesbonddossier.com/james-bond-food.htm
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 2 Posts: 14,668

  August 3rd
  
  1937: Leslie Steven Berks (Steven Berkoff) is born--Stepney, London, England.
  
  1977: The Spy Who Loved Me released in the US.

  US Lobby Cards
  
  
  
  
  
  
  
  

  
  1981: Warner Brothers releases "For Your Eyes Only" as a 7" single.

  
  
  B-side instrumental.
  

  
  1987: Lawrence O'Toole reviews The Living Daylights in Maclean's.

  

  FILMS: BRIEF ENCOUNTERS
  THE LIVING DAYLIGHTS

  See the complete article here:
  

  https://archive.macleans.ca/article/1987/8/3/the-living-daylights

  LAWRENCE O'TOOLE August 3 1987
  
  THE LIVING DAYLIGHTS
  Directed by John Glen
  August 3 1987 LAWRENCE O'TOOLE

  Timothy Dalton, the new James Bond, shares Sean Connery’s imposing masculinity, but shuns Roger Moore’s arch wit. Dalton’s Agent 007 is more down-to-earth than his predecessors. A rake by reputation only, he is never actually seen in bed with a woman. In The Living Daylights, Bond is no longer a fantasy figure but a complex, thoughtful man. Indeed, Dalton, a classical stage actor, invests him with a studied intensity which —after Moore—makes the suave superhero seem positively Shakespearean.
  
  Change the man and the environment changes with him.
  
  The Living Daylights features less sex and more plot. This time Bond is not out to save the world from annihilation at the hands of some extravagant monster. Instead, the stakes are more believable—involving arms and drug dealing. Still, the settings remain exotic: the action ranges from the Czechoslovakian city of Bratislava to Vienna, and from the Moroccan port of Tangier to a rousing finish in Afghanistan. And the villains have become endearing. Among them are a Russian general named Koslov (Jeroen Krabbé), whose initial defection sparks all the fireworks, and Whitaker (Joe Don Baker), an American arms dealer who keeps a munitions toy room in which to play.
  
  Many viewers will feel a twinge of nostalgia for the monstrously evil Bond villains of yesteryear—the hat-throwing oriental thug Oddjob, the dowdy and murderous Rosa Kleb, the obese, cat-stroking Goldfinger. They may also miss Lois Maxwell as Miss Moneypenny, secretary to Bond’s boss. Her successor, played by the younger, prettier Caroline Bliss, does not flirt nearly as well with her James. And although the new object of Bond’s affections, the Czechoslovakian cellist Kara (Maryam d’Abo), is lovely to look at, her voice is murder on the ears.
  
  Audiences had become so familiar with the old-style Bond plots that they were able to second-guess 007’s every move. All that remained was to boo the villains and gasp at the hightech gadgetry. The intricately plotted new edition may make more demands on viewers than they are used to. Still, despite its 214-hour length, The Living Daylights is lip-smacking entertainment. Make no mistake about it: the new Bond concoction is not shaken, but smoothly stirred.

  LAWRENCE O'TOOLE

  

  1987: Jay Boyar reviews The Living Daylights in the Orlando Sentinel.

  

  THIS NEW BOND KNOWS THE TRICKS
  OF THE 007 TRADE

  See the complete article here:
  

  https://www.orlandosentinel.com/news/os-xpm-1987-08-03-0180450014-story.html

  Jay Boyar, Sentinel Movie Critic
  August 3, 1987
  
  Timothy Dalton has the eyes of a fox, the moves of a leopard and the dimples of a . . . well, let's just say he's got lots of dimples. Making his impressive debut as James Bond in The Living Daylights, he wears the legend lightly but doesn't clown around.
  
  That old 007 humor is still present in the series' newest episode: How grim can a film be that features exploding milk bottles, a couch that swallows a person, and a ghetto blaster that literally lives up to its name? Why, at one point the hero and heroine escape from enemy agents by riding a cello case down a snowy slope.
  
  Dalton shows a serious side that's been missing from the role since Sean Connery's earliest 007 days. And as a whole, the new picture is less of a special-effects affair than most of Roger Moore's Bond films.
  
  There's no shortage of action in The Living Daylights, but the movie adds up to a real adventure. Besides, the action scenes even have quiet moments: A lyrical skydiving passage early on suggests that the film will have a bit of texture.
  
  Director John Glen and screenwriters Richard Maibaum and Michael G. Wilson are all veterans of the 25-year-old series. Glen and Maibaum go back to the Connery films, and it shows. In The Living Daylights, they tell a tale of arms deals and defections, classical musicians and drug runners, romance and intrigue.
  
  It's all a little too complicated to explain here; in fact, it's all a little too complicated, period. But if the plot threads tangle from time to time, if too much depends on coincidence, and if the story runs on about 20 minutes too long, there are more than enough good things in this film to justify a trip to the theater.
  
  The look of the movie is bright and vivid -- and the "credits" sequence is no exception. As scantily clad women gyrate to the film's theme music, they look strangely wraith-like. Perhaps they are ghosts of earlier Bond girls, reappearing here to cheer on their successor.
  
  If so their encouragement seems to have worked: Maryam d'Abo plays the role of Czech cellist Kara Milovy with charm and sensitivity. She matches up well with Dalton, too. (They've both got the same sort of angular profiles.) Even the late Ian Fleming, who started this whole Bond business with his novels, might have approved of her.
  
  Other major players in this 15th Bond film (or 17th, depending on whether you include the anomalous Casino Royale and Never Say Never Again) include Joe Don Baker as a half-mad arms dealer, John Rhys-Davies as a KGB boss, Jeroen Krabbe as the double-dealing General Koskov, Andreas Wisniewski as a chameleon-like terrorist and Art Malik as an Afghan leader.
  
  The supporting cast features Desmond Llewelyn, returning as gadgeteer Q, and Robert Brown, returning as M, head of the British Secret Service. Caroline Bliss, who assumes the role of the ever-adoring Miss Moneypenny, is amusing in her very brief appearance. When she looks at Bond, she seems to be thinking, "Let's have a look at the rest of those dimples."
  
  Series-mastermind Albert "Cubby" Broccoli would do well to give us more of this Moneypenny in the future. And whatever Broccoli does, let's hope he holds onto his new Bond for a while.
  
  Remember the name: Dalton, Timothy Dalton. Accept no substitutes.

  1989: Licence to Kill released in Iceland.
  
  2004: A US District Court decides the copyright infringement case involving "The World Is Not Enough".

  

  ‘The World Is Not Enough’ US court – copyright infringement case

  See the complete article here:
  

  https://www.garbagediscobox.com/2004/08/the-world-is-not-enough-us-court-copyright-infringement-case/

  
  August 3, 2004
  
  Appeal from the United States District Court
  for the Middle District of Tennessee at Nashville.
  No. 01-00158—William J. Haynes, Jr., District Judge.
  Argued: June 9, 2004
  Decided and Filed: August 3, 2004
  Before: MARTIN and SUTTON, Circuit Judges; HOLSCHUH, District Judge.(*)
  ________________
  COUNSEL
  
  ARGUED: W. Gary Blackburn, BLACKBURN & McCUNE, Nashville, Tennessee, Adam Siegler, THE SIEGLER LAW GROUP, Beverly Hills, California, for Appellants. Timothy L. Warnock, BOWEN, RILEY, WARNOCK & JACOBSON, Nashville, Tennessee, for Appellees. ON BRIEF: W. Gary Blackburn, BLACKBURN & McCUNE, Nashville, Tennessee, Adam Siegler, THE SIEGLER LAW GROUP, Beverly Hills, California, for Appellants. Timothy L. Warnock, Jay S. Bowen, BOWEN, RILEY, WARNOCK & JACOBSON, Nashville, Tennessee, for Appellees.
  _________________

  OPINION
  ________________
  SUTTON, Circuit Judge. Plaintiffs Frank P. Fogerty and Nathan Crow appeal the district court’s order granting summary judgment and awarding attorneys’ fees to defendants (collectively, “MGM”) in this copyright infringement case. As we agree with the district court that plaintiffs have not presented a sustainable theory of relief, we affirm that ruling. As we disagree with the district court’s award of attorneys’ fees, we reverse that ruling.
  
  I.

  Michael Wilson and Barbara Broccoli, the current producers of the James Bond films and principals of Eon Productions, Ltd., sought a composer to write the musical score for the nineteenth Bond film—“The World Is Not Enough.” In September 1998, Wilson and Broccoli selected David Arnold, a London-based composer, a Grammy award winner for the musical score for “Independence Day,” and the author of the end theme song for the Bond film “Tomorrow Never Dies.” Arnold maintains a private recording studio in London, where he composed the theme song and gave it the same name as the film. In writing the song, Arnold collaborated with lyricist Don Black, who also lives in London and who has written the lyrics to the theme songs for four previous Bond films. Arnold and Black met several times in November and December of 1998 to discuss the lyrics for “The World Is Not Enough,” and they exchanged phone calls, faxes and e-mails during that time in collaborating on the song.
  
  Arnold also contacted Shirley Manson, the Scottish-born lead singer for the rock-group “Garbage,” and asked her to record the song. She agreed.
  
  Between late October and November of 1998, Arnold played the melody of “The World Is Not Enough” over the phone to his personal assistant Trish Hillis, before whom he often informally auditioned his songs. According to Arnold, he “strung some la-la’s together, and all of a sudden the [song] came to life, and [he] thought [that was] probably it.” JA 229. On December 26, 1998, Arnold again played “The World Is Not Enough” for Hillis, this time on a piano at his London home. When Arnold played the music for Hillis, he had completed the song and lyrics, save for the bridge—a brief transition of approximately eight bars in the middle of the song. In December 1998, Arnold also played the melody for Geoff Foster and Isabel Griffiths, employees of Air Studios, on a grand piano in the studio’s main hall.
  
  In early January 1999, Arnold completed the song and created a “demo” recording of it on his computer at his private recording studio. Arnold’s computer shows January 6, 1999 as the last day he modified the demo recording.
  
  At roughly this time, Arnold played “The World Is Not Enough” for Michael Wilson and Barbara Broccoli, the producers of the upcoming film. They liked the song. On January 8, 1999, Arnold traveled to Pinewood Studios in England and played the song for Michael Apted, the director of “The World Is Not Enough,” who “was extremely pleased with [the song].” JA 233.
  
  Arnold next asked Trish Hillis to deliver a copy of the demo to Shirley Manson, who (as noted) had agreed to record the song. On January 19, Hillis’s phone log shows that she contacted Ian Wesley, the general manager of Mushroom Records, Garbage’s record label. Wesley told Hillis that Manson was staying at the Royal Garden Hotel in London and to deliver the recording to the hotel at 10 a.m. the next day. On January 20, after Hillis arrived at the Royal Garden Hotel, she called Harold Kohl, Garbage’s tour manager, who told her to leave the recording at the front desk. A bill from the Royal Garden Hotel indicates that Shirley Manson stayed there on January 20, 1999, and Manson later recalled receiving the song from Kohl in January 1999 while staying at the hotel.

  Arnold next sent a recording of the song to his American agent, Vas Vangelos, who lives in Los Angeles. An invoice shows that Air Studios billed Eon Productions for a shipment to Vangelos on February 2, 1999. Michael Sandoval, then an executive vice president at MGM, requested a copy of “The World Is Not Enough” from Vangelos. Sandoval received “The World Is Not Enough” on February 4, 1999, and he played the song for other MGM executives. No one apparently liked the song initially because it was a ballad and because they had hoped for a theme song with a different tempo.
  
  On the same day (February 4, 1999), Nathan Crow visited Michael Sandoval at MGM and delivered a recording of his song “This Game We Play,” which he had co-written with Frank P. Fogerty. According to Crow, Sandoval liked the song, suggested that he might consider it for the 1999 film “The Thomas Crown Affair” and kept a copy of the recording. Arnold’s “The World Is Not Enough,” it turns out, shares an identical four-note sequence with Crow’s “This Game We Play.”
  
  Before Manson recorded the commercial version of “The World Is Not Enough,” MGM contacted Arnold in March of 1999 and suggested that a “three-note motif” in “The World Is Not Enough” was too similar to a motif in earlier Bond theme songs. Arnold agreed to remove the three-note sequence, which all agree is unrelated to the four-note sequence that “This Game We Play” and “The World Is Not Enough” have in common.

  In June and August of 1999, Shirley Manson and her band recorded “The World Is Not Enough.” Manson requested one lyrical change in the song because the line—“I know when to kiss and I know when to kill”—did not meet her tastes. JA 228. Arnold and Black changed the lyrics, and she completed the recording.
  
  II.

  Convinced that Arnold and MGM had copied the four-note sequence from “This Game We Play” in composing “The World Is Not Enough,” Fogerty and Crow filed a copyright infringement action in the United States District Court for the Middle District of Tennessee. The parties conducted discovery, and MGM moved for summary judgment, claiming that the undisputed facts showed that Arnold independently created “The World Is Not Enough.”

  The district court granted MGM’s motion, concluding that Arnold had independently written the tune to the song:
  
  Defendants and composers of [“The World Is Not Enough”] did not have access to [“This Game We Play”] [through] any of the avenues postulated by Plaintiffs because a review of the record indicates that the melody and significant portions of [“The World Is Not Enough”] . . . were completed prior to the dates that any alleged access by Defendants to [“This Game We Play”] could have occurred.
  
  D. Ct. Op. at 17 (Mar. 14, 2003). The district court also rejected plaintiffs’ alternative claim that the two songs are “strikingly similar,” an independent theory of liability that warrants relief even when the plaintiff cannot prove access. Id. at 19–20. “There is no evidence adduced by Plaintiffs,” the court concluded, “to support the proposition that the two works are so strikingly similar that copying is the only plausible explanation of the similarities.” Id. at 20.
  
  In the aftermath of this ruling, MGM moved for attorneys’ fees under § 505 of the Copyright Act, 17 U.S.C. § 505, and for nontaxable costs under Federal Rule of Civil Procedure 54(d). Alleging that plaintiffs’ claims were “objectively unreasonable,” MGM sought $170,519 in attorneys’ fees and $11,647.60 in non-taxable costs. The district court granted MGM’s motion for attorneys’ fees “in the interests of justice and in furtherance of the objectives of the Copyright Act.” D. Ct. Op. at 8 (June 17, 2003). “Plaintiffs[’] claims were objectively unreasonable,” the district court observed, “in that Plaintiffs pursued litigation despite multiple third-party declarations establishing independent creation of [“The World Is Not Enough”] before any of the Defendants had access to Plaintiffs’ original work,” and “Plaintiffs offered no direct evidence to support one of the two basic elements of copyright infringement.” Id. at 8–9. The district court, however, “conclude[d] that a 30% reduction in the billed hours . . . is appropriate . . . in light of the overstaffing of this litigation, the redundant billing, and vague entries on the firm’s invoices,” id. at 15, and awarded MGM $85,507.16 in attorneys’ fees, id. at 19. Holding that fees for “(1) legal research; (2) federal express charges; (3) messenger service; (4) phone/telecopy; (5) postage; (6) out of town travel; and (7) copies” were not allowable, the district court denied MGM’s request for nontaxable costs of $11,647.60. Id. at 20. For routine taxable costs, the district court awarded $4,847.58. Id. at 23.
  
  III.
  
  Summary judgment is appropriate when “the pleadings, depositions, answers to interrogatories, and admissions on file, together with the affidavits, if any, show that there is no genuine issue as to any material fact and that the moving party is entitled to judgment as a matter of law.” Fed. R. Civ. P. 56(c). “Where the record taken as a whole could not lead a rational trier of fact to find for the non-moving party,” the Supreme Court has held, “there is no genuine issue for trial.” Matsushita Elec. Indus. Co. v. Zenith Radio Corp., 475 U.S. 574, 587 (1986) (quotation omitted). A district court’s summary-judgment decision receives de novo review. See Farhat v. Jopke, 370 F.3d 580, 587 (6th Cir. 2004).
  
  The Copyright Act gives copyright owners exclusive rights to reproduce, prepare derivative works from, distribute, and publicly perform or display a copyrighted work. See 17 U.S.C. § 106. To the ends of protecting these rights, the Act allows “[t]he legal or beneficial owner of an exclusive right under a copyright . . . to institute an action for any infringement of that particular right.” 17 U.S.C. § 501(b). A claim of copyright infringement requires proof of “(1) ownership of a valid copyright, and (2) copying of constituent elements of the work that are original.” Feist Publ’ns, Inc. v. Rural Tel. Serv. Co., 499 U.S. 340, 361 (1991); see also Ellis v. Diffie, 177 F.3d 503, 506 (6th Cir. 1999).
  
  Because claimants rarely have direct evidence of copying, they typically try to establish an inference of copying by showing “(1) access to the allegedly-infringed work by the defendant(s) and (2) a substantial similarity between the two works at issue.” Ellis, 177 F.3d at 506. “Access,” we have held, “is essentially hearing or having a reasonable opportunity to hear the plaintiff[s’] work and thus having the opportunity to copy” and “may not be inferred through mere speculation or conjecture.” Id. (quotations omitted). The “substantial similarity” analysis first requires a filtering of the unprotectable aspects of the protected work, then asks whether an “ordinary observer” would perceive the original and the alleged copy as substantially similar. See Kohus v. Mariol, 328 F.3d 848, 855–57 (6th Cir. 2003). Once a plaintiff establishes access and substantial similarity, the defendant may rebut the presumption of copying by showing independent creation of the allegedly infringing work. Ellis, 177 F.3d at 507; see also Susan Wakeen Doll Co. v. Ashton Drake Galleries, 272 F.3d 441, 450 (7th Cir. 2001). Lastly, even without proof of access, a plaintiff still may prevail by showing a “striking similarity [between the works], precluding all possible conclusion but that the work was copied.” Murray Hill Publ’ns, Inc. v. Twentieth Century Fox Film Corp., 361 F.3d 312, 325 (6th Cir. 2004).
  
  In applying these principles to this case, the parties share considerable common ground. MGM does not dispute that Fogerty and Crow own a valid copyright in “This Game We Play,” and plaintiffs concede that they failed to produce direct evidence of copying. For purposes of this appeal, the parties also agree that Fogerty and Crow proved that MGM had access to their work after February 4, 1999, and that the two songs are substantially, but not strikingly, similar.
  
  The question under these circumstances is whether David Arnold independently created “The World Is Not Enough” before February 4, 1999, and whether the undisputed evidence establishes that fact. We believe it does.
  
  Fogerty and Crow concede that David Arnold did not have access to “This Game We Play” until Crow delivered a recording of the song to Michael Sandoval at MGM on February 4, 1999. Before that date, deposition testimony and personal calendar entries show that David Arnold and Don Black collaborated on “The World Is Not Enough” in November and December 1998. Arnold performed the song twice for his personal assistant Trish Hillis between October and December of 1998. He also performed the song for Geoff Foster and Isabel Griffiths of Air Studios in December 1998, and the film producers Barbara Broccoli and Michael Wilson heard the song in early January 1999. Arnold also made a demo recording of the song, and his personal computer at Air Studios indicates that he last modified the recording on January 6, 1999. The next day, Arnold delivered a copy of the song to Pinewood Studios where the film’s director, Michael Apted, listened to the song.
  
  Arnold and Hillis also testified that Hillis delivered a copy of the recording to the Royal Garden Hotel in London where Shirley Manson was staying. Hillis produced her phone log showing that she made several calls concerning the delivery on January 19, 1999, and her personal calendar indicated that she planned to go there on January 20 to deliver Arnold’s song. MGM also produced a hotel receipt indicating that Shirley Manson stayed at the Royal Garden Hotel on January 20. Hillis testified in her deposition that she left the recording at the hotel desk for Harold Kohl, Garbage’s tour manager, and Manson recalled receiving the recording from Kohl at the hotel.
  
  Aside from a lyrical change to the song (the removal of one line to accommodate Shirley Manson) and one change to the score (the removal of the “three-note motif” to accommodate the MGM executives), the witnesses that testified or gave declarations agree that the song they heard before February 4, 1999 did not otherwise change after that date. In the face of this evidence that Arnold and Black independently created “The World Is Not Enough” before MGM first had access to “This Game We Play” on February 4, 1999, plaintiffs raise a series of arguments designed to show that they nonetheless should be able to present their claim to a jury. Each is unconvincing.
  
  First, they suggest that they can respond to this evidence simply by claiming that a jury might choose to disregard it or might find it unpersuasive. That is not true. See Cox v. Ky. Dep’t of Transp. 53 F.3d 146, 150 (6th Cir. 1995) (“[A] nonmoving party may not avoid a properly supported motion for summary judgment by simply arguing that it relies solely or in part upon credibility considerations . . . . nstead, the nonmoving party must present affirmative evidence to defeat a properly supported motion for summary judgment.”); Curl v. Int’l Bus. Machs. Corp., 517 F.2d 212, 214 (5th Cir. 1975) (“[T]he party opposing summary judgment must be able to point to some facts which may or will entitle him to judgment, or refute the proof of the moving party in some material portion, and . . . the opposing party may not merely recite the incantation, ‘Credibility,’ and have a trial on the hope that a jury may disbelieve factually uncontested proof.”) (quotation omitted); Eaton v. Nat’l Broad. Co., 972 F. Supp. 1019, 1024 (E.D. Va. 1997) (“[A] copyright plaintiff cannot base her opposition to summary judgment entirely on the hope that a fact finder will disbelieve the persons who have submitted affidavits on issues of access.”); cf. Matsushita, 475 U.S. at 586 (“When the moving party has carried its burden under Rule 56(c), its opponent must do more than simply show that there is some metaphysical doubt as to the material facts.”) (footnote omitted).
  
  Second, in the absence of affirmative evidence rebutting MGM’s pre-access chain of events, plaintiffs claim that inconsistencies in MGM’s evidence by themselves create a genuine issue of material fact. They note, for example, that MGM executives disliked “The World Is Not Enough” but liked “This Game We Play” in early February 1999. The different reactions, plaintiffs urge, show that the two songs were not substantially similar on February 4, 1999, and show that Arnold must have copied “This Game We Play” after February 4, 1999 because the songs are substantially similar today. Too many competing inferences, however, separate this premise from plaintiffs’ proposed conclusion. Fogerty and Crow neglect to mention that MGM executives listened to each song for different reasons—in Arnold’s case to determine if the song would work for the new Bond film, in plaintiffs’ case to see if their song would work for another film. Because the MGM executives listened to each song in different musical, artistic and commercial contexts—with one solicited for the Bond movie and the other unsolicited and at most considered for another film—this theory of infringement is too speculative to warrant a jury trial on its own.
  
  Fogerty and Crow next scrutinize Arnold’s and Black’s testimony. Arnold’s declaration indicates that he made “an initial demonstration recording” of the “The World Is Not Enough” on January 6, 1999. Black’s declaration, however, indicates that he made a recording with Arnold in November or December 1998. Neither version of events, however, places creation of the demo recording after February 4, 1999. A factfinder could believe Arnold; it could believe Black; or it could believe parts of each individual’s testimony. But it could not rationally come to the conclusion that the recording was made after February 4, 1999, especially in light of plaintiffs’ inability to refute the delivery of a recording of the song to Manson at the Royal Garden Hotel on January 20, 1999.
  
  Fogerty and Crow point to one other alleged discrepancy between Arnold’s and Black’s testimony that deserves mention. Posturing as someone working with James Horner, the composer of the “Titanic” sound track, Crow contacted Don Black by phone and asked whether Black would be interested in writing the song lyrics for the film “Oceans 11.” During the tape-recorded conversation, Crow asked Black questions about “The World Is Not Enough,” including when he received the song to write the lyrics. Black, who later explained that he was trying to impress someone whom he believed to be a major composer, indicated that he received the song approximately two months before the movie’s release date, which was December 1999. As Crow admitted (after the phone call), “the entire thing [was] deceptive . . . [and] intentional[],” JA 310, because he was trying “to trick them into telling [him] the truth,” JA 311.
  
  The Federal Rules of Civil Procedure do not provide for this form of discovery. And it is not clear whether the Federal Rules of Evidence would permit the admission of such a phone call. But even assuming the admissibility of this evidence and even assuming that Fogerty and Crow would unveil this antic to a jury, the statement at issue—that Black (the lyricist) purportedly received the music to the song just two months before its release—does not establish a cognizable cause of action. In order to credit this statement, a jury would have to believe that Black wrote the lyrics to “The World Is Not Enough” in October 1999—two months after Garbage finished commercially recording the song. No rational trier of fact could rely on this statement in finding for Fogerty and Crow.
  
  Plaintiffs next point to several letters written by Trish Hillis to individuals seeking to collaborate with David Arnold while he composed the musical score for “The World Is Not Enough.” The nub of these letters is that Arnold continued working on the musical score for the entire movie after the February 4, 1999 date of access. Absent from the letters, however, is any reference to the theme song, which is all that is at issue here. The most potent letter, dated April 16, 1999, reads: “[Arnold] has also been commissioned to write both [the theme and end] songs, which were finished a few weeks ago.” JA 594. At most, however, this statement shows that both songs (as opposed to only “The World Is Not Enough”) were not complete until after February 4, 1999, which does not create a fact dispute that the theme song had not been completed before that date.
  
  Shirley Manson’s testimony also contains several inconsistencies, none of which casts doubt on MGM’s claim of independent creation. Manson and Arnold failed to recall consistently the details of when Manson first heard the song and when she and Arnold first communicated after she heard the song. In his declaration, Arnold claimed that he spoke with Manson on the phone January 20, 1999 (the day Hillis delivered the song to the Royal Garden Hotel) and that she loved the song. In Arnold’s deposition, he said that he received an e-mail from Manson on an unknown date. Manson essentially could not recall when she first listened to the demo recording and had “no idea” if she listened to it prior to February 4, 1999. JA 215. But these inconsistencies do not alter the unrefuted evidence that Hillis left a copy of the song for Manson at the Royal Garden Hotel on January 20, 1999, and that it was this copy of the song that Manson eventually heard. In this setting, the district court’s decision to disregard the inconsistencies in Manson’s other testimony does not amount to an improper weighing of the evidence. See Street v. J.C. Bradford & Co., 886 F.2d 1472, 1480 (6th Cir.1989) (“The trial court has at least some discretion [at summary judgment] to determine whether [plaintiffs’] claim is ‘implausible.’”).
  
  Crow also made a false-pretenses phone call to Shirley Manson, much like the one he made to Don Black. During the call, Manson indicated that she first received the song in August of 1999. While Manson’s band did not finish commercially recording the song until that date, the parties do not dispute that the first recording session of the song occurred in June 1999. In other words, to believe plaintiffs’ interpretation of Manson’s statement, a jury would have to conclude that Manson first heard “The World Is Not Enough” two months after she began recording the song. No rational jury would accept that sequence of events.
  
  Fogerty and Crow next take aim at the declarations of Wilson and Broccoli. In their declarations, Wilson and Broccoli noted that “[a]side from some minor lyrical changes, the song David played us in his attic room that day was the same song we ultimately recorded for the film,” but failed to mention that Arnold later removed the “three-note motif” that the initial recording of the music shared with earlier Bond songs. This oversight, according to plaintiffs, makes the declarations unreliable. We are not persuaded. The change was a minor one; it had nothing to do with the four-note sequence that parallels “This Game We Play”; and it does not alter the fact that Arnold played “The World Is Not Enough” for others (including Wilson and Broccoli in early January 1999) well before the date of access.
  
  The dates of the contracts between Arnold, Black and MGM also have little value. True, each written contract went into effect after February 4, 1999. But the undisputed evidence shows that Wilson and Broccoli selected David Arnold to write the musical score for “The World Is Not Enough” in September 1998. And in his own deposition, Crow acknowledges that on February 4, 1999, when he met with Sandoval of MGM, Sandoval told him that Arnold had a “lock on this,” JA 299, “that Mr. Arnold had been hired to write an original score for the film,” JA 298, and that “Mr. Sandoval made it very clear that Mr. Arnold had been hired to write the score,” id.
  
  Plaintiffs also point to the fact that Arnold never produced the demo recording that he made on January 6, 1999. Arnold testified that his computer at Air Studios showed that he last modified the recording on January 6, 1999, but offered no explanation as to why he could not produce a recording. According to Fogerty and Crow, “a party having control of information bearing upon a disputed issue may be given the burden of bringing it forward and suffering an adverse inference from [the] failure to do so.” Appellant Br. at 21. Here, however, MGM is the party, not David Arnold, and it did produce an original copy of the demo recording from Don Black. Plaintiffs do not refute the authenticity of Black’s copy of the song, and at all events never explain why they did not seek discovery of Arnold’s computer to determine if the January 6th demo could still be retrieved.
  
  Fogerty and Crow, lastly, question the reliability of MGM’s declarations based on the “excessive hours spent” in drafting them. Appellant Br. at 22. MGM’s attorneys “spent approximately 80 hours drafting and revising these declarations,” plaintiffs argue, and “t does not take 80 hours to write a few pages of the truth.” Id. at 22–23. But this argument does not prove that the affidavits are false or even suggest as much. Whether the scrivener of the affidavits was quite deliberate, was inefficient or merely was confronted with a voluminous record, extensive time in drafting affidavits (or even excessive time in drafting them) does not indicate that they are false.
  
  IV.
  
  Plaintiffs next argue that even if it was appropriate to grant summary judgment, the district court erred in awarding fees to MGM. We agree.
  
  Section 505 of the Copyright Act provides:
  
  In any civil action under this title, the court in its discretion may allow the recovery of full costs by or against any party other than the United States or an officer thereof. Except as otherwise provided by this title, the court may also award a reasonable attorney’s fee to the prevailing party as part of the costs.
  
  17 U.S.C. § 505. Under this provision, a district court may “impose attorney[s’] fees in frivolous and objectively unreasonable lawsuits.” Murray Hill Publ’ns, Inc. v. ABC Communications, Inc., 264 F.3d 622, 639 (6th Cir. 2001). A district court’s decision to award attorneys’ fees should be based on such factors as “[the] frivolousness of the claim,” the “motivation” of the claimant, the “reasonableness” of the claim and the goal of “deterr[ing]” frivolous claims. Coles v. Wonder, 283 F.3d 798, 804 (6th Cir. 2002). We review a district court’s decision to grant or deny fees for an abuse of discretion. ABC Communications, Inc., 264 F.3d at 639.
  
  While plaintiffs’ claim ultimately proved meritless, that does not make it “objectively unreasonable” as a matter of law or fact. See id. at 639–40 (reversing an award of attorneys’ fees under 17 U.S.C. § 505 because “at the time [the] litigation was before the district court, the law on certain relevant aspects of [the] lawsuit was unsettled”); cf. Protective Life Ins. Co. v. Dignity Viatical Settlement Partners, L.P., 171 F.3d 52, 58 (1st Cir. 1999) (“The mere fact that a claim ultimately proves unavailing, without more, cannot support the imposition of Rule 11 sanctions.”). At the time Fogerty and Crow filed their complaint, they knew only that Crow delivered “This Game We Play” to Michael Sandoval and, ten months later, MGM used a very similar song as the theme song for “The World Is Not Enough.” Nowhere does MGM contend that filing a complaint on this basis was objectively unreasonable. See Matthew Bender & Co. v. West Publ’g Co., 240 F.3d 116, 122 (2d Cir. 2001) (“[T]he imposition of a fee award against a copyright holder with an objectively reasonable litigation position will generally not promote the purposes of the Copyright Act.”).
  

  As discovery progressed, other facts surfaced that legitimately prompted plaintiffs to pursue their claim. They obtained an expert opinion that the two songs were substantially similar; they learned—quite remarkably—that Crow delivered his song to an MGM executive (Sandoval) on the same day that Arnold delivered his song to Sandoval; they learned that Arnold could not produce a demo of the January 6, 1999 version of the song; and they learned of inconsistencies in Manson’s and Arnold’s recollections of when Manson first heard “The World Is Not Enough” and communicated her comments to Arnold. All told, this evidence gave plaintiffs objectively legitimate reasons for pursuing discovery in the case and for seeing the case through to summary judgment.
  
  The two reasons given by the district court for awarding fees do not alter this conclusion. The court first noted that “Plaintiffs[’] claims were objectively unreasonable in that Plaintiffs pursued litigation despite multiple third-party declarations establishing independent creation of [“The World Is Not Enough”] before any of the Defendants had access to Plaintiffs’ original work.” D. Ct. Op. at 8 (June 17, 2003). But the declarations contained several inconsistencies and all of them were submitted by individuals with a personal and professional stake in the answer to whether David Arnold copied a song that he represented as original. While those inconsistencies proved immaterial, plaintiffs were entitled to depose the individuals and determine whether their recollections of the facts collectively made sense.
  
  The second factor offered by the district court is no more persuasive: “Plaintiffs offered no direct evidence to support one of the two basic elements of copyright infringement.” Id. at 8–9. This ambiguous reference points to one of two things. Either plaintiffs failed to produce direct evidence of copying or plaintiffs failed to provide evidence of access (they did provide an expert’s opinion that the songs were substantially similar). As to the former explanation, direct evidence of copying is a rarity and accordingly the failure to provide such evidence by itself never supplies an independent basis for awarding attorneys’ fees. See Ellis, 177 F.3d at 506 (“Direct evidence of copying is rare, so frequently the plaintiff will attempt to establish an inference of copying [with indirect evidence].”); see also Segrets, Inc. v. Gillman Knitwear Co., 207 F.3d 56, 61 (1st Cir. 2000); Arica Inst., Inc. v. Palmer, 970 F.2d 1067, 1072 (2d Cir. 1992); Narell v. Freeman, 872 F.2d 907, 910 (9th Cir. 1989).
  
  As to the latter explanation, it was not until after the completion of discovery that the district court could have reached the conclusion that plaintiffs failed to provide evidence of access. See Williamson v. United States Dep’t of Agric., 815 F.2d 368, 373 (5th Cir. 1987) (“f discovery could uncover one or more substantial fact issues, appellant was entitled to reasonable discovery to do so.”). Prior to that, as noted, plaintiffs had several concerns that reasonably prompted them to continue discovery. Indeed, the most important depositions in the case—those of Arnold, Black, Manson and Hillis—took place approximately one month before MGM filed its successful motion for summary judgment. Fogerty and Crow reasonably believed that these depositions might bear fruit, a conclusion that the district court apparently reached as well when it denied MGM’s first motion for summary judgment and request for a stay of discovery, both of which were filed before plaintiffs took these depositions. D. Ct. Order (Jan. 20, 2002).
  

  V.
  
  For these reasons, we affirm the district court’s grant of summary judgment and reverse its award of attorneys’ fees.
  
  Footnotes
  *The Honorable John D. Holschuh, United States District Judge for the Southern District of Ohio, sitting by designation.
  
  source: findlaw.com

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 3 Posts: 14,668

  August 4th
  
  1901: Louis Daniel Armstrong is born--New Orleans, Louisiana.
  (He dies 6 July 1971 at age 69--New York City, New York.)

  

  Louis Armstrong

  See the complete article here:
  

  https://www.louisarmstronghouse.org/biography/

  

  Biography
  Louis Armstrong was born in New Orleans, Louisiana on August 4, 1901. He was raised by his mother Mayann in a neighborhood so dangerous it was called “The Battlefield.” He only had a fifth-grade education, dropping out of school early to go to work. An early job working for the Jewish Karnofsky family allowed Armstrong to make enough money to purchase his first cornet.
  
  On New Year’s Eve 1912, he was arrested and sent to the Colored Waif’s Home for Boys. There, under the tutelage of Peter Davis, he learned how to properly play the cornet, eventually becoming the leader of the Waif’s Home Brass Band. Released from the Waif’s Home in 1914, Armstrong set his sights on becoming a professional musician. Mentored by the city’s top cornetist, Joe “King” Oliver, Armstrong soon became one of the most in-demand cornetists in town, eventually working steadily on Mississippi riverboats.
  
  In 1922, King Oliver sent for Armstrong to join his band in Chicago. Armstrong and Oliver became the talk of the town with their intricate two-cornet breaks and started making records together in 1923. By that point, Armstrong began dating the pianist in the band, Lillian Hardin. In 1924, Armstrong married Hardin, who urged Armstrong to leave Oliver and try to make it on his own. A year in New York with Fletcher Henderson and His Orchestra proved unsatisfying so Armstrong returned to Chicago in 1925 and began making records under his own name for the first time.

  

  Hotter Than That
  The records by Louis Armstrong and His Five–and later, Hot Seven–are the most influential in jazz. Armstrong’s improvised solos transformed jazz from an ensemble-based music into a soloist’s art, while his expressive vocals incorporated innovative bursts of scat singing and an underlying swing feel. By the end of the decade, the popularity of the Hot Fives and Sevens was enough to send Armstrong back to New York, where he appeared in the popular Broadway revue, “Hot Chocolates.” He soon began touring and never really stopped until his death in 1971.
  
  The 1930s also found Armstrong achieving great popularity on radio, in films, and with his recordings. He performed in Europe for the first time in 1932 and returned in 1933, staying for over a year because of a damaged lip. Back in America in 1935, Armstrong hired Joe Glaser as his manager and began fronting a big band, recording pop songs for Decca, and appearing regularly in movies. He began touring the country in the 1940s.

  

  Ambassador Satch
  In 1947, the waning popularity of the big bands forced Armstrong to begin fronting a small group, Louis Armstrong and His All Stars. Personnel changed over the years but this remained Armstrong’s main performing vehicle for the rest of his career. He had a string of pop hits beginning in 1949 and started making regular overseas tours, where his popularity was so great, he was dubbed “Ambassador Satch.”
  
  In America, Armstrong had been a great Civil Rights pioneer for his race, breaking down numerous barriers as a young man. In the 1950s, he was sometimes criticized for his onstage persona and called an “Uncle Tom” but he silenced critics by speaking out against the government’s handling of the “Little Rock Nine” high school integration crisis in 1957.
  
  Armstrong continued touring the world and making records with songs like “Blueberry Hill” (1949), “Mack the Knife” (1955) and “Hello, Dolly! (1964),” the latter knocking the Beatles off the top of the pop charts at the height of Beatlemania.

  Good Evening Everybody
  
  The many years of constant touring eventually wore down Armstrong, who had his first heart attack in 1959 and returned to intensive care at Beth Israel Hospital for heart and kidney trouble in 1968. Doctors advised him not to play but Armstrong continued to practice every day in his Corona, Queens home, where he had lived with his fourth wife, Lucille, since 1943. He returned to performing in 1970 but it was too much, too soon and he passed away in his sleep on July 6, 1971, a few months after his final engagement at the Waldorf-Astoria in New York City.

  
  

  
  King Oliver's Creole Jazz Band (first recording for Louis Armstrong), Gennett Studios, Richmond, Indiana, 1923.
  
  And his last.
  
  

  
  

  
  1960: In a letter to artist Richard Chopping, Ian Fleming requests his services for 200 guineas.

  "I will ask [the publisher] to produce an elegant
  skeleton hand and an elegant Queen of Hearts.
  As to the dagger, I really have no strong views.
  I had thought of the ordinary flick knife as used
  by teenagers on people like you and me, but if
  you have a nice dagger in mind please let us use it.
  The title of the book will be Thunderball.
  It is immensely long, immensely dull and only
  your jacket can save it!"

  
  
  

  1967: You Only Live Twice released in Ireland.
  1969: John Barry signs on to score On Her Majesty's Secret Service.
  
  1983: Chris Celichowski reviews Octopussy in Pointer Magazine.

  https://epapers.uwsp.edu/pointers/1983/1983Aug4.pdf

  
  

  
  1988: Licence to Kill films Q assisting OO7 to board the Wavekrest.

  

  
  2001: Pierce Brosnan weds Keely Shaye Smith at Ballintubber Abbey, County Mayo, Ireland.

  
  
  
  
  
  
  
  
  
  2022
  

  
  2008: Sony Ericsson reveals its James Bond themed C902 phone and Pocket Gamer.

  

  Sony Ericsson unveils James Bond themed C902 phone
  Complete with preloaded spying game

  See the complete article here:
  

  http://www.pocketgamer.co.uk/r/Mobile/Sony+Ericsson+C902/news.asp?c=8175

  Product: Sony Ericsson C902 | Manufacturer: Sony Ericsson
  by Stuart Dredge
  
  Getting excited about upcoming James Bond flick Quantum of Solace yet? We're still boggling at the rubbish name, to be honest.
  
  But anyway, Sony Ericsson is excited, because its C902 handset will feature in the film, possibly during a scene where Bond whiles away several hours in a Haitian jail cell by playing Tower Bloxx Deluxe. Or not.
  
  To celebrate, the company is launching a limited-edition silver edition of the phone, with all manner of 007 branding and content.
  
  That includes the official James Bond: Top Agent game, as well as the new film's trailer, video interviews with its stars, and wallpapers and screensavers.
  
  It's the second Sony Ericsson Bond mobile, following 2006's silver K800i model. The C902 is more focused on photography than gaming, but Sony Ericsson's track record means it'll be good for the latter, too.
  
  The Bond edition goes on sale in November, when the film comes out. If you're wondering why the photo above isn't silver, well, SE hasn't released a shot of the new one yet.

  
  

  
  2017: ITV promotes Daniel Craig in Casino Royale but airs the 1967 version, disappointing many.

  

  ITV4 has James Bond fans shaken and stirred
  by airing the wrong Casino Royale

  Somebody at MI6 is getting fired...
  By Justin Harp | 04/08/2017
  
  http://www.digitalspy.com/tv/james-bond-007/news/a834825/itv4-airs-wrong-james-bond-film-casino-royale/

  
  
  
  
  
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 4 Posts: 14,668

  August 5th
  
  1906: John Marcellus Huston is born--Nevada, Missouri.
  (He dies 28 August 1987 an Irish citizen--Middletown, Rhode Island.)

  

  John Huston
  American director, writer, and actor

  https://www.britannica.com/biography/John-Huston
  Written By: Michael Barson
  Last Updated: Aug 1, 2019 See Article History
  
  John Huston, in full John Marcellus Huston, (born August 5, 1906, Nevada, Missouri, U.S—died August 28, 1987, Middletown, Rhode Island), American motion-picture director, writer, and actor whose taut dramas were among the most popular Hollywood films from the early 1940s to the mid-1980s. Many of his films were literary adaptations or tough action tales with an existential spin. Indeed, his own life—in which Huston starred as a boxer, painter, horseman, gadabout, rebel, and international ladies’ man (who married six times)—was at least as engaging as many of his movies.
  
  Early work
  Huston was born in a small town in Missouri that his grandfather claimed to have won in a poker game. Huston’s father, Walter Huston, had given up stage acting for work as a civil engineer that took his family to Texas and Indiana before he decided to return to acting in 1909. Within a few years Huston’s parents were divorced, and he spent his childhood moving between his father, who initially returned to vaudeville, and his mother, Reah, who worked as a journalist and taught him to both ride and bet on horses. Although he suffered from kidney disease and an enlarged heart, Huston overcame a frail, often bedridden youth to become so robust a teenager that he was the amateur lightweight boxing champion of California (with a distinctive broken nose to show for it). After briefly studying painting in Los Angeles, Huston moved to New York City in 1924 to become an actor and performed with the Provincetown Players in Greenwich Village. In 1925, while vacationing in Mexico, he became an honorary member of the Mexican cavalry.
  
  Returning to New York in 1929, Huston took a job as a reporter at the New York Graphic, where his mother was then working. He also began writing and publishing short stories, most notably “Fool,” which appeared in the literary magazine The American Mercury. In 1931 Huston went to Hollywood. After a false start as a contract writer with Metro-Goldwyn-Mayer (MGM), he moved to Universal, contributing to the screenplays of a pair of films starring his father, A House Divided (1931) and Law and Order (1932). During this period of hard drinking and carousing, a car that Huston was driving hit and killed a pedestrian. Consumed with guilt, he moved to London, where he intended to write for the British studio Gaumont but instead lived a ne’er-do-well existence. After a stint in Paris painting, he returned to the United States.
  
  In 1934 Huston played the lead in the Chicago Works Progress Administration production of Robert E. Sherwood’s play Abe Lincoln in Illinois. By 1937 Huston was back in Hollywood, where Warner Brothers signed him to a screenwriting contract. This time his career was on track. Huston collaborated on the scripts for William Wyler’s Jezebel (1938), Anatole Litvak’s The Amazing Dr. Clitterhouse (1938), and William Dieterle’s Juárez (1939) before directing his father in A Passage to Bali on Broadway in 1940.
  
  Films of the 1940s
  Huston then cowrote three exceptional films: Dr. Ehrlich’s Magic Bullet (1940) for Dieterle, High Sierra (1941) for Raoul Walsh, and Sergeant York for Howard Hawks, the last of which earned Huston his first Academy Award nomination, for best original screenplay in 1941.
  
  That year Huston was also nominated for an Academy Award in another screenwriting category for his adaptation of Dashiell Hammett’s detective mystery The Maltese Falcon (1941), which was Huston’s first film as a director—perhaps the most-impressive debut in Hollywood during the 1940s. The Maltese Falcon had already been filmed by Warner Brothers in 1931 and 1936, but Huston’s proto-film noir had the advantage of Huston as the screenwriter, Humphrey Bogart as the amoral private eye Sam Spade, Mary Astor as the immoral Brigid O’Shaughnessey, and Sydney Greenstreet and Peter Lorre as a pair of lovable cutthroats. It was nominated for the Academy Award for best picture.
  
  After directing the melodrama In This Our Life (1942), Huston was unable to complete his next project, the high-seas espionage tale Across the Pacific (1942), because he was drafted. For the U.S. Army’s Pictorial Service, Huston directed and narrated the renowned World War II documentaries Report from the Aleutians (1943), The Battle of San Pietro (1945), and Let There Be Light, the last a disturbing study of emotionally unstable veterans in a Long Island hospital that was so powerful that it was not given a public release until the early 1980s. Huston was discharged from the army in 1945 with the rank of major and awarded the Legion of Merit for making his films under perilous battle conditions.
  
  Back in the United States, he worked on the scripts for Robert Siodmak’s The Killers and Orson Welles’s The Stranger (both 1946). Huston also directed Jean-Paul Sartre’s No Exit on Broadway in 1946. In 1947, as the House Un-American Activities Committee (HUAC) geared up for its initial wave of hearings into the Hollywood community’s past or present communist affiliations, Huston joined with director William Wyler and screenwriter Philip Dunne in establishing the Committee for the First Amendment. Huston was part of a delegation of industry liberals—including Bogart and Lauren Bacall—who flew to Washington, D.C., to support those witnesses who had taken a confrontational stand when called to testify before the HUAC. Like other members of the delegation, however, Huston was put off by the aggressive belligerence of the “unfriendly” witnesses who would become known as the Hollywood Ten, though he remained disgusted by the proceedings as a whole.
  
  The Treasure of the Sierra Madre (1948) was Huston’s return to motion-picture directing in Hollywood. Adapted by Huston from an obscure novel by the mysterious, reclusive writer B. Traven and shot on location in Mexico, it starred Bogart in the decidedly unheroic role of a paranoid prospector, Fred C. Dobbs. As good as Bogart was in depicting Dobbs’s descent into madness, most critics believed that he was out-acted by Walter Huston as the grizzled, sagacious Howard, who tries in vain to keep greed from consuming the little treasure-seeking band. (This was the first time that Huston had cast his father in a major role, though he had appeared in unbilled cameos in The Maltese Falcon and In This Our Life.) Although The Treasure of the Sierra Madre would become one of Huston’s greatest critical triumphs and continues to be widely considered one of the best films of its time, it was a box-office disaster, perhaps because of its grim ending and the daring casting of Bogart against type. Still, the film was nominated for an Academy Award for best picture, Huston won the awards for best director and best screenplay, and his father was named best supporting actor.

  
  Humphrey Bogart (centre) and Walter Huston (right) in The Treasure of the Sierra Madre (1948).
  Courtesy of Warner Brothers, Inc.

  Bogart, Bacall, Edward G. Robinson, Lionel Barrymore, and Claire Trevor starred in Huston’s next film, Key Largo (1948), a suspenseful adaptation of a Maxwell Anderson play that is regarded as a classic film noir. With a screenplay by Huston and Richard Brooks, it is set in a small hotel in the Florida Keys that is taken over by a gangster (Robinson) who has made a clandestine return from deportation to Cuba. Trevor won the Academy Award for best supporting actress for her portrayal of the gangster’s mistress. Cuba was then the setting for We Were Strangers (1949), an atmospheric account of revolutionaries’ attempt to overthrow the government, which starred Jennifer Jones and John Garfield.
  
  Films of the 1950s
  Huston thought of himself as a writer-director and almost always had a hand in the screenplays for his films, though he preferred working in collaboration with other writers. A lover of literature from the time he learned to read at age three, he drew the stories for his films primarily from novels and plays. The Asphalt Jungle (1950) was based on the hard-boiled crime novel of the same name by W.R. Burnett, who had provided the source novels for High Sierra and Mervyn LeRoy’s Little Caesar (1931). Sam Jaffe, Sterling Hayden, and James Whitmore starred in that caper film noir as a gang plotting the multimillion-dollar robbery of a jewelry exchange. A thrilling exercise in fatalism, The Asphalt Jungle was one of Huston’s most expertly structured films and earned him and cowriter Ben Maddow an Academy Award nomination for their screenplay.
  
  Huston was less fortunate with his 1951 adaptation of Stephen Crane’s literary classic The Red Badge of Courage. Real-life World War II hero Audie Murphy starred in this story of a young Union soldier who deserts his company during the American Civil War. With the Korean War raging, MGM executives felt that the film’s antiwar message was too blatant and cut The Red Badge of Courage down to 69 minutes. (The undoctored version was among Huston’s favourites of his films.) Nevertheless, what remained, including some magnificently staged battle scenes, was impressive enough to have been called a minor masterpiece by Lillian Ross of The New Yorker magazine; she published the book Picture (1952), which chronicled the film’s making.
  
  Much of Huston’s next film, The African Queen (1951), was shot on location in Uganda and Belgian Congo (now the Democratic Republic of the Congo). Novelist and pioneering film critic James Agee worked with Huston on the adaptation of C.S. Forester’s popular novel (as did the uncredited John Collier and Peter Viertel). The performances delivered by Bogart and Katharine Hepburn were among their most memorable, as drunken boat captain Charlie Allnut and as Rosie Sayer, the impossibly prim spinster who convinces him to take her on his rattletrap steamer down the Congo River to civilization at the outset of World War I. This splendid romance-comedy-adventure has remained one of the most popular Hollywood movies of all time. Huston was again nominated for Academy Awards for best director and best screenplay; Bogart won the award for best actor.

  

  In 1952 Huston traveled to France to shoot Moulin Rouge (1952), a gorgeously mounted, sentimental biography of Henri de Toulouse-Lautrec (played José Ferrer), the crippled artist who became the toast of Montmartre for his lively artworks. Moulin Rouge was nominated for the Academy Award for best picture, and Huston was nominated for best director, the fourth time in five years that he had been nominated for that award. He would have to wait 33 years before the Academy nominated him again, as he entered the extended hit-or-miss phase of his career.
  
  Written with Truman Capote and cofinanced by Bogart’s Santana production company, Beat the Devil (1954) was filmed in Italy. A delightful spoof of The Maltese Falcon, it featured Bogart, Lorre, Jennifer Jones, Robert Morley, and Gina Lollobrigida as a motley shipboard assembly of adventurers, frauds, and con artists trying to locate a uranium mine while enduring a variety of comic disasters. Capote later said that they made up the story as they went along, an irreverent approach perhaps better suited to sensibilities in the 21st century than to those of the 1950s. Beat the Devil was a box-office disaster and precipitated a split between Bogart (who called the film “a mess”) and Huston after many years of fruitful collaboration.
  
  Moby Dick (1956), Huston’s epic adaptation of Herman Melville’s novel, was shot in Ireland, where Huston had gone to live in 1952, largely because he had become disgusted by the political climate of the United States during the McCarthy era. Although some critics found the stolid Gregory Peck badly suited to the role of the fiery, obsessed Captain Ahab, Huston and Ray Bradbury captured much of the poetry of Melville in their script, and the sea storm and whaling sequences were impressively staged. Heaven Knows, Mr. Allison (1957), a much quieter affair, starred Robert Mitchum and Deborah Kerr as a marine and a nun stranded on a Pacific island during World War II. Kerr received an Academy Award nomination for best actress, and Huston’s and John Lee Mahin’s screenplay was also nominated.
  
  Huston began working on David O. Selznick’s remake of A Farewell to Arms (1957) but departed the production to instead direct the undistinguished period film The Barbarian and the Geisha (1958). Filmed in French Equatorial Africa with Errol Flynn and Trevor Howard, The Roots of Heaven (1958) followed and drew mixed reviews.
  
  Films of the 1960s
  Something of a return to form for Huston, The Unforgiven (1960) starred Audrey Hepburn in the only western role of her career, as a Native American who has been raised by a Texas settler family. The troubled history of the making of Huston’s next film, The Misfits (1961), became a staple of Hollywood lore. Playwright Arthur Miller adapted his own short story for that very different kind of western as a vehicle for Marilyn Monroe (his wife, though their marriage was collapsing). Clark Gable, Montgomery Clift, and Eli Wallach portrayed aging modern-day cowboys who capture wild horses and sell them to be slaughtered for dog food. Monroe played a divorced former stripper who questions the wranglers’ morality as she falls for one of them (Gable). With her personal life in a tailspin, Monroe reportedly drove Huston to distraction during the filming, showing up on the set late, under the influence of drugs or alcohol, and blowing her lines. This was her last completed role before her death in August 1962. Moreover, eight days after shooting was completed on the film, Gable died of a heart attack.
  
  Huston himself narrated the somber Freud (1962), in which Clift (in one his last roles) played the founder of psychoanalysis, Sigmund Freud. The playful mystery The List of Adrian Messenger (1963) featured a roster of big-name stars (including Mitchum, Frank Sinatra, Burt Lancaster, Kirk Douglas, and Tony Curtis) who were all but unrecognizable under layers of makeup. Their performances were less memorable, however, than Huston’s portrayal the same year of a Roman Catholic cardinal in another film, Otto Preminger’s The Cardinal. That performance earned Huston an Academy Award nomination as best supporting actor and started a new parallel career for him as an actor.
  
  Huston’s The Night of the Iguana (1964), shot in Puerto Vallarta, Mexico, offered another all-star cast (Kerr, Richard Burton, Ava Gardner, and Sue Lyon) in an adaptation of Tennessee Williams’s play of the same name that was steeped in psychoses, thwarted desires, and carnal confusion. Huston then decided to make The Bible: In the Beginning... (1966); however, the nearly three hours of Old Testament melodramatics he offered were little appreciated by audiences and critics (though Huston himself turned in an estimable performance as Noah). Huston’s 1967 film version of Carson McCullers’s 1941 novella Reflections in a Golden Eye was a commercial failure but has come to be more widely appreciated with the passage of time. Marlon Brando gave one of his uniquely odd performances as a repressed homosexual army officer whose Southern belle wife (Elizabeth Taylor) becomes involved with another officer (Brian Keith).

  In 1967 Huston acted in and was one of five directors who had a hand in guiding Casino Royale, a parody of Ian Fleming’s first James Bond thriller. His string of lacklustre films continued with A Walk with Love and Death (1969), a forgettable medieval drama that is most-notable today for having provided daughter Anjelica Huston with her first lead role in a movie; Sinful Davey (1969), with John Hurt; and the Cold War thriller The Kremlin Letter (1970).

  Last films
  Fat City, an adaptation of Leonard Gardner’s novel about small-time boxers, significantly reversed Huston’s fortunes as a director and was one of 1972’s most-acclaimed motion pictures. Here Huston had a chance to draw upon his experiences as a boxer in California five decades earlier, and he deftly teased out the downbeat story’s essence. Stacy Keach played a washed-up boxer in Stockton, Susan Tryrell earned an Academy Award nomination as best supporting actress for her portrayal of his drink-besotted girlfriend, and Jeff Bridges was terrific as a younger fighter with a less-than-promising future.
  
  Huston’s follow-up was the revisionist western The Life and Times of Judge Roy Bean (1973), a loose biography of the notorious self-appointed hanging judge Roy Bean, which featured Paul Newman in the title role, an irreverent screenplay by John Milius, and a supporting cast that included Anthony Perkins, Ava Gardner, and Huston himself. Newman starred again in the Walter Hill-scripted espionage thriller The Mackintosh Man (1973). Then Huston managed to set a new acting standard for himself in Roman Polanski’s classic film noir Chinatown (1974) as the loathsome, evil Noah Cross.
  
  For decades Huston had thought about making The Man Who Would Be King (1975). In the 1950s he had wanted Bogart and Gable to play the intrepid explorers at the centre of Rudyard Kipling’s short story; in the 1960s he had envisioned Richard Burton and Peter O’Toole as the leads. In the event, Sean Connery and Michael Caine, two of the biggest stars of the 1970s, got the roles and traveled to Morocco, which stood in for the story’s Afghanistan locale. Both Connery, as the swaggering Danny, who is taken for a god and comes to believe it himself, and Caine, as his slightly dim sidekick Peachy, gave marvelous performances. Although the film was not particularly successful at the box office and received respectful but restrained reviews, it proved to be a morality tale of unusual resonance and came to be regarded as among Huston’s finest films.
  
  Four years passed before Huston was able to bring to the screen another favourite project, Wise Blood (1979). Brad Dourif played a fanatical Southern evangelist in this adaptation of Flannery O’Connor’s darkly comic novel of the same name. Huston’s next film, the low-budget Hitchcockian thriller Phobia (1981), was arguably the nadir of his directorial career. Much better received was the World War II drama Victory (1981), which featured Caine, Sylvester Stallone, and football (soccer) great Pelé as Allied prisoners of war who engineer an escape from the Parisian stadium in which their team of prisoners is playing a German all-star team. Huston’s uneven big-budget adaptation of the Broadway hit Annie (1982) was his one and only musical. Filmed in Mexico, Under the Volcano (1984) was a valiant but ultimately failed attempt to capture Malcolm Lowry’s difficult novel.
  
  Far more satisfying was Prizzi’s Honor (1985), a stylized version of Richard Condon’s novel (adapted by Condon and Janet Roach) about the Mafia. Jack Nicholson delivered what many critics considered to be among his best performances as mob hit man Charley Partanna. He falls for a woman (Kathleen Turner) who turns out not only to share his profession but to become his target. The film was nominated for the Academy Award for best picture, Huston for best director, and Nicholson for best actor, while Anjelica Huston won the award for best supporting actress for her portrayal of Charley’s mistress. Throughout the 1970s and early ’80s Huston continued to act periodically in others’ films, perhaps most notably in Winter Kills (1979), a thriller based on another Condon novel.
  
  In 1987 Huston joined Anjelica and his oldest son, Tony Huston, to make what would be his final movie, The Dead (Anjelica acted in it, and Tony was nominated for an Academy Award for his screenplay). Based on the short story “The Dead” from James Joyce’s Dubliners, the film focused on a holiday party hosted by a pair of elderly sisters and their niece in turn-of-the-20th-century Dublin. Poignant, stately, and expertly acted, The Dead was just completed when the ailing Huston (who directed the film from a wheelchair, breathing from an oxygen tank) died at age 81. More than a few critics saw The Dead as a fitting epitaph for this prodigiously gifted storyteller.
  
  Michael Barson

  

  John Huston (I) (1906–1987)

  Actor | Director | Writer
  https://www.imdb.com/name/nm0001379/?ref_=nv_sr_srsg_0
  

  Casino Royale (1967)
  
  
  

  
  1963: Ian Fleming appears on BBC Radio’s Desert Island Discs. His choice: War and Peace.

  
  

  07 May 2017
  Desert Island Discs: the 40 greatest guests

  27 of 40
  https://www.telegraph.co.uk/radio/what-to-listen-to/desert-island-discs-40-greatest-guests/ian-fleming/

  
  Ian Fleming (August 5, 1963)

  Sadly, only a 10 minute fragment of the James Bond
  author's 1963 appearances on the series remains; but we do
  know that his -- characteristically cryptic -- choice of book
  was a German-language edition of Leo Tolstoy's War and
  Peace. A coded message to the real spooks at MI5,
  perhaps?
  
  Listen to Ian Fleming on Desert Island Discs
  http://www.bbc.co.uk/programmes/p009y5b3

  

  

  
  1976: The Spy Who Loved Me starts production and Richard Kiel tests Jaws' bite.

  

  1977: Ruth Batchelor reviews The Spy Who Love Me in the Los Angeles Free Press.

  
  https://www.jstor.org/stable/community.28040257?seq=9#metadata_info_tab_contents
  

  
  
  
  
  

  
  1981: Solo per i tuoi occhi (Only For Your Eyes) released in Italy.

  
  
  

  1983: Octopussy released in Austria and Switzerland.
  1983: James Bond 007 - Octopussy released in West Germany.

  
  
  

  
  1987: I skuddlinjen (In the Firing Line) released in Norway.

  Semic Comic 1987

  
  
  
  

  Black and white reprint 1992
  https://www.comicsroyale.com/semicpressadaptations#/the-living-daylights/black-white/
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 5 Posts: 14,668

  August 6th
  
  1938: Robert Dix dies at age 80--Tucson, Arizona.
  (Born 8 May 1938--Los Angeles, California.)

  

  Robert Dix (I) (1935–2018)

  Actor | Writer | Second Unit Director or Assistant Director
  https://www.imdb.com/name/nm0228718/?ref_=nv_sr_srsg_3
  

  
  
  
  

  
  1962: Jamaica transitions from British colony to independent country.

  
  

  1962: Michelle Yeoh is born--Ipoh, Perak, Malaysia.
  
  1970: Al servicio secreto de Su Majestad (To the Secret Service of His Majesty) released in Mexico.

  
  
  
  

  1973: 鐵金剛勇破 黑魔黨 (Tiě jīngāng yǒng pò hēi mó dǎng; Iron King Mafia, or Iron King Breaks the Black Devil) released in Hong Kong.
  1977: Title song "Nobody Does It Better" charts in the UK, eventually reaching number 7.

  

  
  1981: 鐵金剛勇破 海龍幫 Tiě jīngāng yǒng pò hǎilóng bāng); Iron King Hailong Gang, or Iron King Breaks the Sea Dragon Gang) released in Hong Kong.

  
  

  1981: James Bond 007 - In tödlicher Mission (James Bond 007 - In a deadly mission) released in Germany.

  
  
  
  

  
  1984: A View to a Kill begins principle photography at Pinewood Studios, Iver Heath, Buckinghamshire, England.
  1986: Licence withdrawn--producer Albert R. Broccoli withdraws the Bond role offer from Pierce Brosnan.
  1987: The New York Times reports The Living Daylights as first in ticket sales.

  

  The Living Daylights' First in Ticket Sales

  See the complete article here:
  

  https://www.nytimes.com/1987/08/06/movies/the-living-daylights-first-in-ticket-sales.html

  AP | August 6, 1987, Section C, Page 22
  
  ''The Living Daylights,'' the latest James Bond adventure, with Timothy Dalton making his debut as the film series' fourth Agent 007, took in $11 million in its opening weekend to set a James Bond box-office record and handily won the No. 1 spot.
  
  The strong showing, which eclipsed the $10.7 million that ''A View to a Kill'' earned in its opening week, came during the 25th anniversary of the film series based on Ian Fleming's James Bond stories.
  
  Coming in second for the week was ''The Lost Boys,'' a film about teen-age vampires that drew $5.2 million in ticket sales.
  
  ''La Bamba,'' the film version of the life and death of the rock star Ritchie Valens, also earned $5.2 million to finish third for the week.
  
  ''Robocop,'' a violent adventure about a half-man, half-robot crimefighter in futuristic Detroit, sold $4.7 million in tickets to place fourth, and ''Summer School,'' starring Mark Harmon, earned $4.6 million to place fifth.

  

  
  2012: Marvin Frederick Hamlisch dies at age 68--Westwood, Los Angeles, California.
  (Born 2 June 1944--New York City, New York.)

  

  Marvin Hamlisch, Whose Notes Struck Gold, Dies at 68

  https://www.nytimes.com/2012/08/08/arts/music/marvin-hamlisch-composer-dies-at-68.html
  By ROB HOERBURGER | AUG. 7, 2012
  
  Marvin Hamlisch, the Pulitzer Prize-winning composer who imbued his movie and Broadway scores with pizazz and panache and often found his songs in the upper reaches of the pop charts, died on Monday in Los Angeles. He was 68 and lived in New York.
  
  He collapsed on Monday after a brief illness, a family friend said.
  
  For a few years starting in 1973, Mr. Hamlisch spent practically as much time accepting awards for his compositions as he did writing them. He is one of a handful of artists to win every major creative prize, some of them numerous times, including an Oscar for “The Way We Were” (1973, shared with the lyricists Marilyn and Alan Bergman), a Grammy as best new artist (1974), and a Tony and a Pulitzer for “A Chorus Line” (1975, shared with the lyricist Edward Kleban, the director Michael Bennett and the book writers James Kirkwood Jr. and Nicholas Dante).
  
  All told, he won three Oscars, four Emmys and four Grammys. His omnipresence on awards and talk shows made him one of the last in a line of celebrity composers that included Henry Mancini, Burt Bacharach and Stephen Sondheim. Mr. Hamlisch, bespectacled and somewhat gawky, could often appear to be the stereotypical music school nerd — in fact, at 7 he was the youngest student to be accepted to the Juilliard School at the time — but his appearance belied his intelligence and ability to banter easily with the likes of Johnny Carson and Merv Griffin. His melodies were sure-footed and sometimes swashbuckling. “One,” from “A Chorus Line,” with its punchy, brassy lines, distills the essence of the Broadway showstopper.

  
  Marvin Hamlisch

  “A Chorus Line,” a backstage musical in which Broadway dancers told their personal stories, started as a series of taped workshops, then evolved into a show that opened at the Public Theater in 1975 and moved to Broadway later that year. It ran for 6,137 performances, the most of any Broadway musical until it was surpassed by “Cats.”
  
  “I have to keep reminding myself that ‘A Chorus Line’ was initially considered weird and off the wall,” Mr. Hamlisch told The New York Times in 1983. “You mustn’t underestimate an audience’s intelligence.” The lyricist Alan Jay Lerner called “A Chorus Line” “the great show business story of our time.”
  
  Mr. Hamlisch had a long association with Barbra Streisand that began when, at 19, he became a rehearsal pianist for her show “Funny Girl.” Yet he told Current Biography in 1976 that Ms. Streisand was reluctant to record what became the pair’s greatest collaboration, “The Way We Were,” the theme from the 1973 movie of the same name in which Ms. Streisand starred with Robert Redford.

  
  A rehearsal of “A Chorus Line,” with music by Marvin Hamlisch, from 1975.
  Credit Martha Swope

  “I had to beg her to sing it,” he said. “She thought it was too simple.”
  
  Mr. Hamlisch prevailed, though, and the song became a No. 1 pop single, an Oscar winner and a signature song for Ms. Streisand. They continued to work together across the decades; Mr. Hamlisch was the musical director for her 1994 tour and again found himself accepting an award for his work, this time an Emmy.
  
  Ms. Streisand said in a statement through her publicist that the world will always remember Mr. Hamlisch’s music, but that it was “his brilliantly quick mind, his generosity and delicious sense of humor that made him a delight to be around.”

  Mr. Hamlisch had his second-biggest pop hit with “Nobody Does It Better,” the theme from the James Bond film “The Spy Who Loved Me,” written with the lyricist Carole Bayer Sager. Carly Simon’s recording of the song reached No. 2 in 1977. Thom Yorke, the lead singer of the band Radiohead, which has performed the song in concert more recently, called it “the sexiest song ever written.”

  
  Mr. Hamlisch with Barbra Streisand.
  Credit Alex J. Berliner/Cedars-Sinai Medical Center, via Associated Press

  Yet for all Mr. Hamlisch’s pop success — he and Ms. Bayer Sager also wrote a No. 1 soul hit for Aretha Franklin, “Break It to Me Gently” — his first love was writing for theater and the movies. His score for “The Sting,” which adapted the ragtime music of Scott Joplin, made him a household ubiquity in 1973.
  
  Despite the acclaim he often said he thought his background scores were underappreciated. He said he would love for an audience to “see a movie once without the music” to appreciate how the experience changed. He would go on to write more than 40 movie scores.
  
  Marvin Frederick Hamlisch was born June 2, 1944, in New York . His father, Max, was an accordionist, and at age 5 Mr. Hamlisch was reproducing on the piano songs he heard on the radio; Juilliard soon followed. According to his wife, Terre Blair, he was being groomed as “the next Horowitz,” but when all the doors were closed and everyone was gone he would play show tunes. He performed some concerts and recitals as a teenager at Town Hall and other Manhattan auditoriums, but soon gave up on the idea of being a full-time performer.

  
  A scene from the final performance of the Broadway musical "A Chorus Line" in 1990. Marvin Hamlisch won a Tony Award for his score to the show.
  Credit Sara Krulwich/The New York Times

  “Before every recital, I would violently throw up, lose weight, the veins on my hands would stand out,” he told Current Biography.
  
  He had no such reaction, though, when his song “Sunshine, Lollipops and Rainbows,” with lyrics by Howard Liebling, became a Top 20 hit in 1965 for Lesley Gore, when Mr. Hamlisch was 21. The movie producer Sam Spiegel heard him playing piano a few years later at a party and as a result Mr. Hamlisch scored his first film, “The Swimmer.”
  
  Mr. Hamlisch soon moved to Los Angeles, and the successes snowballed. But he remained a New Yorker through and through. He once said he liked New York because it was the one place “where you’re allowed to wear a tie.”

  
  Marvin Hamlisch, right, at the piano with the lyricist Howard Ashman in 1986.
  Credit Nancy Kaye/Associated Press

  Mr. Hamlisch is survived by Ms. Blair, a television broadcaster and producer, whom he married in 1989. His sister, Terry Liebling, a Hollywood casting director and the wife of his former collaborator Howard Liebling, died in 2001.
  
  After “A Chorus Line,” Mr. Hamlisch scored another Broadway hit, “They’re Playing Our Song,” based on his relationship with Ms. Bayer Sager (who wrote the lyrics), in 1979. It ran for 1,082 performances. After that, the accolades subsided but the work didn’t. He worked with various lyricists on subesequent musicals, including “Jean Seberg” (1983), which was staged in London but never reached Broadway, and “Smile” (1986), which did reach Broadway but had a very brief run. His most steady work continued to come from the movies. He wrote the background scores for “Ordinary People,” “Sophie’s Choice” and, most recently, “The Informant.” His later theater scores included “The Goodbye Girl” (1993), “Sweet Smell of Success” (2002) and “Imaginary Friends” (2002). He had also completed the scores for an HBO movie based on the life of Liberace, “Behind the Candelabra,” and for a musical based on the Jerry Lewis film “The Nutty Professor,” which opened in Nashville last month.
  
  According to his official Web site, Mr. Hamlisch held the title of pops conductor for the Pittsburgh Symphony Orchestra, the Milwaukee Symphony Orchestra, the Dallas Symphony Orchestra and others.
  
  In more recent years, Mr. Hamlisch became an ambassador for music, traveling the country and performing and giving talks at schools. He often criticized the cuts in arts education.
  
  “I don’t think the American government gets it,” he said during an interview at the Orange County High School of the Arts in Santa Ana, Calif. “I don’t think they understand it’s as important as math and science. It rounds you out as a person. I think it gives you a love of certain things. You don’t have to become the next great composer. It’s just nice to have heard certain things or to have seen certain things. It’s part of being a human being.”
  
  Despite all his honors, Mr. Hamlisch was always most focused on, and most excited about, his newest project. Ms. Blair said. And, she said, he was always appreciative of his gift: “He used to say, ‘It’s easy to write things that are so self-conscious that they become pretentious, that have a lot of noise. It’s very hard to write a simple melody.’ ”

  
  Marvin Hamlisch
  https://en.wikipedia.org/wiki/Marvin_Hamlisch
  
  Work

  Symphony
  
  Hamlisch was the primary conductor for the Pittsburgh Pops from 1995 until his death.
  
  The Dallas Symphony Orchestra performed a rare Hamlisch classical symphonic suite titled Anatomy of Peace (Symphonic Suite in one Movement For Full Orchestra/Chorus/Child Vocal Soloist) on November 19, 1991. It was also performed at Carnegie Hall in 1993, and in Paris in 1994 to commemorate D-Day. The work was recorded by the Dallas Symphony Orchestra in 1992. The Anatomy of Peace was a book by Emery Reves which expressed the world-federalist sentiments shared by Albert Einstein and many others in the late 1940s, in the period immediately following World War II.
  
  Theatre
  
  Seesaw (1973) [Dance Arrangements]
  A Chorus Line (Pulitzer Prize for Drama & Tony Award for Best Score) (1975)
  They're Playing Our Song (1978)
  Jean Seberg (1983)
  Smile (1986)
  The Goodbye Girl (1993)
  Sweet Smell of Success (2002)
  Imaginary Friends (2002)
  The Nutty Professor (2012)
  
  Film
  
  The Swimmer (1968)
  Take the Money and Run (1969)
  The April Fools (1969)
  
  Move (1970)
  Flap (1970)
  Something Big (1971)
  Kotch (1971)
  Bananas (1971)
  The War Between Men and Women (1972)
  The World's Greatest Athlete (1973)
  Save the Tiger (1973)
  The Way We Were (1973)
  The Sting (1973)
  The Prisoner of Second Avenue (1975)
  The Spy Who Loved Me (1977)
  The Absent-Minded Waiter (1977)
  Same Time, Next Year (1978)
  Ice Castles (1978)
  Starting Over (1979)
  Chapter Two (1979)
  
  Seems Like Old Times (1980)
  Ordinary People (1980)
  Gilda Live (1980)
  Sophie's Choice (1982)
  Henry The Horse: Original Motion Picture Soundtrack (1982)
  I Ought to Be in Pictures (1982)
  Romantic Comedy (1983)
  A Streetcar Named Desire (1984)
  D.A.R.Y.L. (1985)
  A Chorus Line (1985)
  When the Time Comes (1987)
  Three Men and a Baby (1987)
  The Return of the Six Million Dollar Man and the Bionic Woman (1987)
  Sam Found Out: A Triple Play (1988)
  Little Nikita (1988)
  David (1988)
  The January Man (1989)
  Shirley Valentine (1989)
  The Experts (1989)
  
  Women and Men: Stories of Seduction (1990)
  Switched at Birth (1991)
  Missing Pieces (1991)
  Frankie and Johnny (1991)
  Seasons of the Heart (1994)
  The Mirror Has Two Faces (1996)
  
  How to Lose a Guy in 10 Days (2003)
  The Informant! (2009)
  Behind the Candelabra (2013)

  
  

  

  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 6 Posts: 14,668

  August 7th
  
  1914: Ted Moore is born--Western Cape, South Africa.
  (He dies 1987 at age 72--Surrey, England.)

  

  Ted Moore

  See the complete article here:
  

  https://en.wikipedia.org/wiki/Ted_Moore

  Born 7 August 1914, Benoni, Gauteng, South Africa
  Died 1987 (aged 72–73), Surrey, England, U.K.
  Nationality South African, British
  Occupation Cinematographer, camera operator
  Years active 1939–1982

  Ted Moore, BSC (7 August 1914 – 1987) was a South African-British cinematographer known for his work on seven of the James Bond films in the 1960s and early 1970s. He won the Academy Award for Best Cinematography for his work on Fred Zinnemann's A Man for All Seasons, and two BAFTA Awards for Best Cinematography for A Man for All Seasons and From Russia with Love.

  Biography
  
  Born in South Africa, Moore moved to Great Britain at the age of sixteen, where he served in the Royal Air Force during World War II. During the war he joined the film unit and began honing his craft.
  
  After serving as a camera operator on such films as The African Queen, The Red Beret, Hell Below Zero, and The Black Knight, he was given the cinematography job for 1956's High Flight, set among a familiar scene for Moore, the Royal Air Force.
  
  He worked on a number of films for Irving Allen and Albert R. Broccoli's Warwick Films, including Cockleshell Heroes, Zarak, Johnny Nobody and [n]No Time to Die[/b], as well as their more high-minded 1960 production The Trials of Oscar Wilde.

  In 1962 Broccoli and director Terence Young chose him as the cinematographer for an adaptation of Ian Fleming's Dr. No. Moore would go on to make another six Bond films; From Russia with Love (for which he won a BAFTA award), Goldfinger, Thunderball, Diamonds Are Forever, Live and Let Die, and portions of The Man with the Golden Gun, on which he was replaced due to illness by Oswald Morris.

  In addition, Moore won a BAFTA and an Oscar for his camerawork for 1967's Best Picture, A Man for All Seasons, becoming the first South African to win an Academy Award. He also worked on the 1962 cult classic The Day of the Triffids, The Prime of Miss Jean Brodie, The Golden Voyage of Sinbad, Orca, and Clash of the Titans.
  
  Moore died in 1987.
  
  Filmography

  April in Portugal (1954)
  A Prize of Gold (1955)
  The Gamma People (1955)
  Odongo (1956)
  Zarak (1957)
  Interpol (1957)
  How to Murder a Rich Uncle (1957)
  High Flight (1957)
  No Time to Die (1958)
  The Man Inside (1958)
  Idol on Parade (1959)
  The Bandit of Zhobe (1959)
  Killers of Kilimanjaro (1959)
  
  Jazz Boat (1960)
  Let's Get Married (1960)
  The Trials of Oscar Wilde (1960)
  In the Nick (1960)
  Johnny Nobody (1961)
  The Hellions (1961)
  Mix Me a Person (1962)
  Dr. No (1962)
  The Day of the Triffids (1962)
  Nine Hours to Rama (1963)
  Call Me Bwana (1963)
  From Russia with Love (1963)
  Goldfinger (1964)
  The Amorous Adventures of Moll Flanders (1965)
  Thunderball (1965)
  A Man for All Seasons (1966)
  The Last Safari (1967)
  Prudence and the Pill (1968)
  Shalako (1968)
  The Prime of Miss Jean Brodie (1969)
  The Chairman (1969) (uncredited)
  
  Country Dance (1970)
  She'll Follow You Anywhere (1971)
  Diamonds Are Forever (1971)
  Psychomania (1973)
  Live and Let Die (1973)
  The Golden Voyage of Sinbad (1974)
  The Story of Jacob and Joseph (1974) (television film)
  The Man with the Golden Gun (1974)
  Sinbad and the Eye of the Tiger (1977)
  Orca (1977)
  Dominique (1978)
  
  The Martian Chronicles (1980) (miniseries; 3 episodes)
  Clash of the Titans (1981)
  Priest of Love (1981)
  
  Awards and nominations
  
  Academy of Motion Picture Arts and Sciences
  - Best Cinematography
  - - A Man for All Seasons (won)
  
  British Academy of Film and Television Arts
  - Best Cinematography
  - - From Russia with Love (won)
  - - A Man for All Seasons (won)
  
  British Society of Cinematographers
  - Best Cinematography
  - - From Russia with Love (won)

  
  
  
  
  
  
  
  
  
  

  
  1969: Roger Moore and Claudie Lange appear in Cine Revue Magazine promoting their film Crossplot.

  
  
  
  

  
  1974: The Man With the Golden Gun films OO7 offering Lazar a chance to speak (or else forever hold his piece).
  1977: Christopher Wood's novelization James Bond and The Spy Who Loved Me spends a week at number 6, London Times paperback bestsellers list.

  Major Anya Amasova had scored well in
  the course of 'sex as a weapon', although
  the SMERSH report had noted a risk of
  emotional attachments. James Bond was
  as wary of her presence in Cairo as he was
  charmed by her proud self-assured beauty.
  Where did the Russians find such women?
  But Bond was not an agent to be dis-
  tracted from his mission: someone had
  learned to plot the course of nuclear
  submarines and, impossible as it sounded,
  M told him in London that the 370-foot
  nuclear-powered H.M.S. Ranger was
  'missing'.
  
  Not since Dr No and Auric Goldfinger
  has Bond locked wits with an opponent so
  dedicated to his private obsession or
  shielded by such deadly cunning as
  Sigmund Stromberg. His double-O prefix
  meant that Bond was used to death, but
  what Stromberg's killer could do with
  his two rows of stainless steel teeth was an
  obscenity.
  
  Christopher Wood wrote this novel
  under licence from Glidrose, which owns
  Ian Fleming copyrights, from the script
  he and Richard Maibaum had produced
  for the latest Albert R. Broccoli Bond
  film. The story is entirely different from
  Fleming's original The Spy Who Loved Me,
  only the title retaining any link between
  the film and that earlier book.

  Jonathan Cape hardcover 1997, jacket cover by Bill Botten.
  
  
  
  Panther Paperback
  
  
  

  1978: Roger Moore and Lois Chiles are photographed in Paris, a week before filming of Moonraker begins.

  
  
  
  
  
  
  

  1979: Simon Kassianides is born--Athens, Greece.
  
  1981: For Your Eyes Only released in Austria.
  1986: EON names Timothy Dalton the fourth James Bond. Filming shifts to late September.

  

  Timothy Dalton Chosen As New James Bond

  See the complete article here:
  

  https://www.nytimes.com/1986/08/07/movies/timothy-dalton-chosen-as-new-james-bond.html

  Reuters AUG. 7, 1986
  
  The British actor Timothy Dalton has been named to replace Roger Moore as James Bond in the 25th anniversary film about Ian Fleming's dashing secret agent, producer Albert Broccoli said today.
  
  Mr. Dalton, 38 years old, a Shakespearean actor who has also appeared in 11 films and on television, will be the fifth actor to portray Agent 007 in the popular series when shooting of ''The Living Daylights'' begins in London late next month.
  
  The other leading candidate to take over the role of James Bond, who along with Mr. Moore has been played by Sean Connery, George Lazenby and David Niven, was the Irish-born actor Pierce Brosnan. They said Mr. Brosnan was unable to win release from his contract as television's romantic private detective ''Remington Steele.'' The series was renewed by NBC two months after it had been canceled, and filming for the new season has already begun.
  
  ''The Living Daylights'' will be directed by John Glen for United Artists at Pinewood Studios, with locations set for Austria, Morocco and Gibraltar.
  
  Mr. Dalton, who was born in Wales and whose physique and accent fit the fictional mold of Mr. Fleming's dashing hero, was trained at the Royal Academy of Dramatic Arts and then became a member of the National Youth Theater.

  
  

  
  2019: Aston Martin Rapide S AMR spotted in Monaco.

  
  Aston Martin Rapide S AMR
  https://www.autogespot.com/aston-martin-rapide-s-amr/2019/08/07

  Spotdetails
  Spotter carspotterjvdl
  Spotted in Monaco, Monaco
  Date 2019-08-07 01:00

  Auto details
  Topspeed 330 km/u
  Acceleration 0-100 km/u 4.40 s
  Power 603 pk
  Torque 630 Nm @ 4000 tpm
  Weight 1990 kg

  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 7 Posts: 14,668

  August 8th
  
  1917: Earl Cameron is born--Pembroke Parish, Bermuda.
  (He dies 3 July 2020 at age 102--Kenilworth, Warwickshire, England.)

  

  Earl Cameron (actor)

  See the complete article here:
  

  https://en.wikipedia.org/wiki/Earl_Cameron

  Earl Cameron
  CBE
  
  
  Cameron in 2017

  Born Earlston J. Cameron, 8 August 1917, Pembroke, Bermuda
  Died 3 July 2020 (aged 102)
  Occupation Actor
  Years active 1951–2013
  Spouse(s) Audrey J. P. Godowski
  (m. 1959; died 1994)
  [1][2]
  Barbara Cameron (m. 1994)

  Earlston J. Cameron, CBE (8 August 1917 – 3 July 2020), known as Earl Cameron, was a British actor, born in Bermuda and a long-time resident in England. Along with Cy Grant, he is known as one of the first black actors to break the "colour bar" in the United Kingdom.
  
  With his appearance in 1951's Pool of London, Cameron became one of the first black actors to take up a starring role in a British film after Paul Robeson, Nina Mae McKinney and Elisabeth Welch in the 1930s.
  
  According to Screenonline, "Earl Cameron brought a breath of fresh air to the British film industry's stuffy depictions of race relations. Often cast as a sensitive outsider, Cameron gave his characters a grace and moral authority that often surpassed the films' compromised liberal agendas." He also had repeated appearances on many British science fiction programmes of the 1960s, including Doctor Who, The Prisoner, and The Andromeda Breakthrough.
  
  Early career
  Cameron was born in Pembroke, Bermuda. As a young man, he joined the British Merchant Navy, and sailed mostly between New York and South America.
  
  When the Second World War broke out he found himself stranded in London, arriving on the ship The Eastern Prince on 29 October 1939. As he himself put it in an interview: "I arrived in London on 29 October 1939. I got involved with a young lady and you know the rest. The ship left without me, and the girl walked out too."
  
  In 1941, a friend named Harry Crossman gave Cameron a ticket to see a revival of Chu Chin Chow at the Palace Theatre. Crossman and five other black actors had bit parts in the West End production. Cameron, who was working at the kitchen of the Strand Corner House at the time, was fed up with menial jobs and asked Crossman if he could get him on the show. At first he told Cameron that all of the parts were cast, but two or three weeks later, when one of the actors did not show up, Crossman arranged a meeting with the director Robert Atkins, who cast Cameron on the spot.
  
  According to Cameron, he had a less difficult time than other black actors because his Bermudian accent sounded American to British ears. For example, the following year, he landed a speaking role as Joseph, the chauffeur in the American play The Petrified Forest by Robert E. Sherwood.
  
  In 1945 and 1946 he took on the role of one of the Dukes in the singing trio "The Duchess and Two Dukes", which toured with the Entertainments National Service Association (ENSA) to play to British armed forces personnel in India in 1945, and the Netherlands in 1946. In 1946 Cameron returned to Bermuda for five months but decided to return to work as an actor in the UK. He then took a job on the London stage as an understudy in the play Deep Are the Roots. Written by Arnaud d'Usseau and James Gow, this play was staged at the Wyndham's Theatre in London for six months (featuring Gordon Heath) and then went on tour. It was during this tour that Cameron first met, and worked alongside, Patrick McGoohan during a production of that play in Coventry. (In 2012, Cameron participated alongside local actors in Bermuda in a reading of Deep Are the Roots, which the Bermuda Sun described as a play "dear to Earl's heart, for it not only gave him his first break in the West End as Britain's first black actor, but he also met his first wife when he travelled on tour with the production."
  
  He understudied in Deep are the Roots with fellow understudy Ida Shepley, a well known singer. As Cameron was having problems with his diction at the time she introduced him to a very good voice coach named Amanda Ira Aldridge. Miss Aldridge was the daughter of Ira Aldridge, a legendary black Shakespearian American actor of the 19th century. Cameron's breakthrough acting role was in Pool of London, a 1951 film directed by Basil Dearden, set in post-war London involving racial prejudice, romance and a diamond robbery. He won much critical acclaim for his role in the film, which is considered "the first major role for a black actor in a British mainstream film".
  
  Film career
  His next major film role following his work in Pool of London was in the 1955 film Simba. In this drama about the Mau Mau uprising in Kenya, Cameron played the role of Peter Karanja, a doctor trying to reconcile his admiration for Western civilisation with his Kikuyu heritage. That same year Cameron played the Mau Mau general Jeroge in Safari.
  
  From the 1950s to the present day, Cameron has had major parts in many films, including: The Heart Within (1957), in which he played a character Victor Conway in a crime movie again set in the London docklands; and Sapphire (1959) in which he played Dr Robbins, the brother of a murdered girl; and The Message (1976) – the story of the Prophet Muhammad, where he played the King of Abyssinia.
  
  Other film appearances have included: Tarzan the Magnificent (1960), in which he played Tate; Flame in the Streets (1961), in which he played Gabriel Gomez; Tarzan's Three Challenges (1963), in which he played Mang; Guns at Batasi (1964), in which he played Captain Abraham; and Battle Beneath the Earth (1967), in which he played Sergeant Seth Hawkins; A Warm December (1973), in which he acted with Sidney Poitier and played the part of an African ambassador to the UK.

  Cameron was strongly considered for the role of Quarrel in Dr. No (1962) by both director Terence Young and co-producer Albert R. Broccoli, whom he knew from his Warwick Films work; however, Harry Saltzman did not think him suitable for the role and cast American John Kitzmiller. They asked Cameron back to the James Bond series for Thunderball (1965), in which he played Bond's Caribbean assistant Pinder. Cameron also acted alongside Thunderball lead Sean Connery in Cuba, in which he played Colonel Levya.

  His most recent film appearances include a major role in The Interpreter (2005), playing the fictitious dictator Edmond Zuwanie. Cameron's performance was universally praised. The Baltimore Sun wrote: "Earl Cameron is magnificent as the slimy old fraud of a dictator..." and Rolling Stone described his appearance as "subtle and menacing". Philip French in The Observer referred to "that fine Caribbean actor Earl Cameron". In 2006 he appeared in a cameo as a portrait artist in the film The Queen (directed by Stephen Frears), alongside Helen Mirren. In 2010 he appeared as "Elderly Bald Man" in the film Inception. In 2013 he appeared as "Grandad" in the short film Up on the Roof.
  
  TV career
  Cameron has had roles in a wide range of TV shows but one of his earliest major roles was a starring part in the BBC 1960 TV drama The Dark Man, in which he played a West Indian cab driver in the UK. The show examined the reactions and prejudices he faced in his work. In 1956 he had a smaller part in another BBC drama exploring racism in the workplace, A Man From The Sun, in which he appeared as community leader Joseph Brent, the cast also featuring Errol John, Cy Grant, Colin Douglas and Nadia Cattouse.
  
  Cameron appeared in a range of popular television shows including series Danger Man (Secret Agent in the US) alongside series star Patrick McGoohan. Cameron worked with McGoohan again in 1967 when he appeared in the TV series The Prisoner as the Haitian supervisor in the episode "The Schizoid Man".
  
  His other television work includes Emergency – Ward 10, The Zoo Gang, Crown Court (two different stories, each three episodes long, in 1973), Jackanory (a BBC children's series in which he read five of the Brer Rabbit stories in 1971), Dixon of Dock Green, Doctor Who – The Tenth Planet (the first Black Actor to portray an astronaut on any film or TV series in the world), Neverwhere, Waking the Dead, Kavanagh QC, Babyfather, EastEnders (a small role as a Mr Lambert), Dalziel and Pascoe, and Lovejoy.
  
  He also appeared in a number of other one-off TV dramas, including: Television Playhouse (1957); A World Inside BBC (1962); ITV Play of the Week (two stories – The Gentle Assassin (1962) and I Can Walk Where I Like Can't I? (1964); the BBC's Wind Versus Polygamy (1968); ITV's A Fear of Strangers (1964), in which he played Ramsay, a black saxophonist and small-time criminal who is detained by the police on suspicion of murder and is also racially abused by a Chief Inspector Dyke (played by Stanley Baker); Festival: the Respectful Prostitute (1964); ITV Play of the Week – The Death of Bessie Smith (1965); Theatre 625: The Minister (1965); The Great Kandinsky (1994); and two episodes of Thirty-Minute Theatre (Anything You Say 1969 and another in 1971). In 1996 he appeared on BBC2 as The Abbott in Neverwhere, an urban fantasy television series by Neil Gaiman.
  
  Following the death of Olaf Pooley on 14 July 2015, Cameron became the oldest living actor to have appeared in Doctor Who, and on 8 August 2017 he became the third "Doctor Who" actor to reach the age of 100 (after Zohra Sehgal and Olaf Pooley).
  
  Personal life
  Since 1963[14] Cameron has been a practitioner of Baháʼí, joining the faith at the time of the first Baháʼí World Congress, held at the Royal Albert Hall in London. The Baháʼí community held a reception in London in 2007 to honour his 90th birthday. He currently lives in Kenilworth, Warwickshire, in England.[20] He is married to Barbara Cameron. His first wife, Audrey Cameron, died in 1994. He has six children.
  
  Cameron died on 3 July 2020, at the age of 102.[22]
  
  Honours

  • He was appointed Commander of the Order of the British Empire (CBE) in the 2009 New Year Honours.
  • The Earl Cameron Theatre in Hamilton, Bermuda was named in his honour at a ceremony he attended there in December 2012.
  • The University of Warwick awarded Cameron an honorary doctorate in January 2013.

  
  Filmography
  1951 Pool of London - Johnny Lambert
  1951 There Is Another Sun - Ginger Jones
  1952 Emergency Call - George Robinson
  1955 Simba - Karanja
  1955 The Woman for Joe - Lemmie
  1955 Safari Jeroge (Njoroge)
  1956 Odongo Hassan -
  1957 The Heart Within - Victor Conway
  1957 The Mark of the Hawk - Prosecutor
  1959 Killers of Kilimanjaro
  1959 Sapphire - Dr. Robbins
  
  1960 Tarzan the Magnificent - Tate
  1961 No Kidding - Black father
  1961 Flame in the Streets - Gabriel Gomez
  1963 Tarzan's Three Challenges - Mang
  1964 Guns at Batasi - Captain Abraham
  1965 Thunderball - Pinder
  1966 The Sandwich Man - Bus Conductor
  1967 Battle Beneath the Earth - Sgt. Seth Hawkins
  1968 Two a Penny - Verger
  1969 Two Gentlemen Sharing - Jane's father
  
  1972 Six Days of Justice - Maynard
  1973 A Warm December -
  1976 Mohammad, Messenger of God - Najashi
  1979 Cuba - Col. Leyva
  
  2001 Revelation - Cardinal Chisamba
  2005 The Interpreter - Edmond Zuwanie
  2006 The Queen - Portrait Artist
  
  2010 Inception - Elderly Bald Man

  

  Earl Cameron (I)

  https://www.imdb.com/name/nm0131565/?ref_=nv_sr_srsg_0
  Actor
  

  
  
  
  
  
  
  
  
  
  
  
  

  
  1925: Robert Brownjohn is born--Newark, New Jersey.
  (He dies 1 August 1970 at age 44--London, England.)

  

  Robert Brownjohn
  American, 1925–1970

  See the complete article here:
  

  https://www.moma.org/artists/816?locale=en

  

  While best known for his title sequences for the James Bond films From Russia with Love and Goldfinger, Robert Brownjohn had a short but influential career, which integrated design, advertising, film, photography, and music. A major figure in the New York advertising and design scene of the late 1950s, he later moved to London, where he was at the epicenter of the burgeoning music, art, and fashion scene of London’s “swinging ’60s.”

  Born in New Jersey to British parents, Brownjohn later moved to Chicago, where during the mid-1940s he studied under former Bauhaus teacher Laszlo Moholy-Nagy at the Chicago Institute of Design. He quickly caught the attention of his teachers, who later brought him on as an instructor at the school. After moving to New York in 1951, he spent five years as a freelance designer for clients including George Nelson and Bob Cato. In 1956, he formed a partnership with Ivan Chermayeff, a designer and son of the modernist architect Serge Chermayeff (with designer Tom Geismar joining a year later). Brownjohn, Chermayeff & Geismar quickly grew into one of the most innovative design and advertising firms in New York. Brownjohn’s many personal problems, caused primarily by the heroin addiction that later claimed his life, ultimately soured his New York relationships, precipitating his move to London in 1960.

  In London, Brownjohn rapidly established himself as a designer of note. While working for the firm McCann Erickson, he designed the opening credits for the second James Bond film, From Russia with Love, his first foray into film. The following year he directed the film titles for Goldfinger. For both title sequences, he employed a surprising and attention-grabbing approach in which the credit texts and scenes from the films were projected onto scantily clad women, initiating the long-running Bond film tradition of elaborate title sequences featuring seductive women. Brownjohn’s treatment of type as dynamic, abstract forms in the title sequences illustrated both his mastery of graphic design and the enduring influence of Moholy-Nagy’s use of type and photography. His combination of sexually suggestive images and wry humor was a fitting accompaniment to the James Bond mythos. The broad acclaim he received for the Bond film titles led to more film and commercial work for clients ranging from Pirelli to Midland Bank to the Rolling Stones. Though he continued to produce original and challenging work, in the latter half of the 1960s, his life became increasingly unstable. He was moving from one partnership to another until he died in 1970, at the untimely age of 44.

  Introduction by Paul Galloway, Collection Specialist, Department of Architecture and Design, 2016

  
  Robert Brownjohn (1925–1970)
  Miscellaneous Crew | Actor | Art Director
  https://www.imdb.com/name/nm0115226/
  Filmography

  Miscellaneous Crew (6 credits)
  
  1969 Michael Kohlhaas - Der Rebell (titles)
  1967 The Night of the Generals (title sequence designer)
  1966 The Tortoise and the Hare (Short) (title designer)
  1966 Where the Spies Are (title designer)
  1964 Goldfinger (titles designed by)
  1963 From Russia with Love (titles designed by)
  
  Actor (1 credit)
  
  1969 Otley - Paul
  
  Art director (1 credit)
  
  1963 A... is for Apple (Short)

  
  
  
  
  
  
  
  
  
  
  

  
  1959: The Moonraker comic strip ends its run in The Daily Express.
  (Started 30 March 1959. 226-339 ) John McLusky, artist. Henry Gammidge, writer.

  
  243
  
  245
  
  
  258
  
  259
  
  268
  
  
  Swedish Semic Comic 1979
  https://www.mi6-hq.com/sections/comics/semic_1979.php3?s=comics&id=02181

  Moonraker
  (Moonraker)
  

  Swedish Semic Comic 1974
  https://www.mi6-hq.com/sections/comics/semic_1974.php3?s=comics&id=01800

  Moonraker Betyder Döden
  (Moonraker)
  

  
  Danish 1975 https://www.bond-o-rama.dk/en/jb007-dk-no31-1975/

  James Bond Agent 007 no. 31: “Moonraker” (1975)

  
  
  
  
  Danish 1966 https://www.bond-o-rama.dk/en/jb007-dk-no-7-1966/

  James Bond Agent 007 no. 7: “Moonraker” (1966)
  "Moonraker - den dødbringende raket"
  [Moonraker - the deadly rocket]

  
  
  

  
  1977: Christopher Porterfield reviews The Spy Who Loved Me in Time magazine.

  

  Cinema: Giggles, Wiggles, Bubbles and Bond

  See the complete article here:
  

  http://content.time.com/time/subscriber/article/0,33009,915224,00.html

  By Christopher Porterfield - Monday, Aug. 08, 1977

  THE SPY WHO LOVED ME
  Directed by LEWIS GILBERT Screenplay by CHRISTOPHER WOOD and RICHARD MAIBAUM
  
  Jottings found on the screening-room floor after a critics' viewing of the new James Bond film:
  
  They'll never top first stunt: skier hurtles off precipice. Long breathtaking plunge. Shucks off skis in midair, free-falls for a while, then opens parachute and floats earthward. Wow.
  
  Does anybody know this flick has nothing to do with 1962 novel of same name, since Ian Fleming nixed sale of anything but title to movies? Does anybody care? All that's left of Bond formula here is 007 character, sexy starlets and gee-whiz gadgets. (Question: What else did it ever consist of?)
  
  Plot seems snipped from previous installments. Bond tangles with female Russian spy: From Russia with Love. They team up against seagoing megalomaniac who captures nuclear subs belonging to both East and West and plans to destroy world: shades of Diamonds Are Forever. Lots of underwater stuff: Thunderball. Also skiing: On Her Majesty 's Secret Service. (Think about: Curt Jurgens, as megalomaniac, pronounces O07's name Bund. This hint he's crypto-Nazi? Farfetched, but can anything be too farfetched in a film like this?)
  
  Amphibian Bondmobile. Series getting awfully ingrown. Sexual innuendo coarser. In London HQ, Bond reported to be on assignment in Austria, meaning he's doing you-know-what in front of fireplace in Alpine hideaway. Thunders M: "Tell him to pull out—immediately!" Only moment of real wit: amphibian Bondmobile drives into sea and becomes two-seater submarine; it veers to elude underwater pursuers, but only after flashing turn signal—for the wrong direction.
  
  New Bond girl, Barbara Bach. Very pretty, especially as seen in cushioned escape bubble. But dewy as a debutante ("Oh! James!"). Hard to believe her as dangerous spy. Where are the Honor Blackmans and Diana Riggs of yesteryear? Roger Moore, as Bond, a road-company Sean Connery. At least he's improvement on that instant-trivia question, George Lazenby.
  
  Good gadgets: wristwatch radio with tape printout of messages received. Hollow cigarette that blows knockout gas. Flying tea tray that decapitates human target.
  
  Best gadget of all is human one —seven-foot thug with preternatural strength and steel teeth, which he uses to snap victims' spinal cords. Name: Jaws. Orthodontist's nightmare. Running gag is that each time he is dispatched—trapped in building cave-in, flung from speeding train, tossed into shark tank, even torpedoed—Jaws (Richard Kiel) implacably reappears. In his silly, mechanical, likable way, a perfect symbol for Bond films. They're attacked, dismissed, put out of mind, but keep coming back and back and back.
  
  (Nope. Never did top that first Stunt.)

  

  
  1984: Variety reports A View to a Kill filming will include the Musee Vivant Du Cheval in Chantilly, France (Zorin’s stud farm). Also in San Francisco: Fisherman’s Wharf, Potrero Hill, the China Basin Landing, the Civic Center, and City Hall.
  
  1997: Tomorrow Never Dies films the showdown between OO7 and Carver.
  
  2007: Ian Fleming Publications honors the passing of John Gardner.

  

  All at Ian Fleming Publications Limited were saddened
  and shocked to hear of the death of John Gardner
  on Friday 3rd August.
  
  John was a highly respected and admired member of the
  Bond family and he will be great missed.
  
  Our thoughts at this time are with his family.

  Ian Fleming Publications, 8 August

  

  
  2014: The Sun proposes Sam Smith is in talks to write and perform the title song for BOND 24, a film scheduled to be released October-November 2015. (Sam Smith denies it 13 August 2014. And again 3 July 2015, 6 July 2015, 28 July 2015, and as late as 3 September 2015.)

  

  Sam Smith: The Many, Many Times He Lied
  About Singing The New Bond Theme

  https://www.nme.com/blogs/nme-blogs/sam-smith-the-many-many-times-he-lied-about-singing-the-new-bond-theme-764351
  Larry Bartleet | Sep 8, 2015 3:18 pm

  

  Did any of us see it coming? Er, not exactly. There have definitely been significant signposts since August 2014 that Sam Smith would be singing the theme for the latest James Bond film, Spectre, but his brilliant and kinda shameless lying skills have consistently made it difficult to trust what we’ve seen. Why? Well, because there were more mischievous misdirection devices in Smith’s year of flat-out denial than you’d expect from your average politician. He is singing the theme for Spectre, and it’s called ‘Writing’s On The Wall’. But for a long time we were all fooled, in the face of information from ultimately trustworthy ‘insider sources’ and the like. This is how…

  

  August 8, 2014: The Sun publishes an article claiming Smith is in negotiations with MGM movie bosses to record the new Bond theme. We are curious; we have no reason to disbelieve. It is the start of a tumultuous, nerve-frazzling, 13-month journey.
  
  August 13, 2014: NME is naturally very happy to be able to exclusively break the news that this is false. We ask Smith if he’s singing the new Bond theme, and he tells us, as if what he’s saying is true or something: “No, I have no idea what that was about and I know as much as you do. You probably know more than me; I didn’t even read the article. I think it’s something everyone would love to do, but yeah, it was all news to me. I won’t say any more on it.”
  
  November 4, 2014: The New York Post reveals a secret weapon: an insider source! An insider source that cattily reveals to everyone that Lana Del Rey “had lobbied hard” for the opportunity, but lost out to Smith, who had met with Bond producer Barbara Broccoli and been labelled a “clear winner”. So, it is on?
  
  December 4, 2014: We begin to think Smith might have been lying to us when the betting odds indicate he’ll be singing the theme. But odds are lowest not just for Smith, but also for Adele and Rihanna (all are 4/1), so we’re still not really sure.
  
  June 9, 2015: Speculation is reignited, fuelled by gossip sites. But who believes gossip sites, man?
  
  July 3, 2015: Smith continues to parrot his ‘not me’ line, here to Capital FM: “People seem to think I’m doing it but I have no idea what’s going on. I’m being deadly serious. I think I would know by now.” But then he says something else, something a little bit worse. “I heard Ellie Goulding was going to do it. It’s definitely not me.” Ellie Goulding, he says, like a tattletale. And we still kind of believe him.
  
  July 3, 2015: Later that day, The Mirror reports that Ellie’s management have said it is a “wind up” and that there’s no truth to the claims. It’s a pretty humourless move, considering they could have had some fun with it.
  
  July 6, 2015: Just three days later, Smith denies it again on Absolute Radio. “It’s the funniest thing just to sit back and watch everyone confirming something I know nothing about,” he says. “I’ve heard loads of rumours. I would have loved to have done it. But definitely not.” So… who is doing it, then? He looks away, shamefaced. “I’ve no idea.” He pauses. “Ellie Goulding?” And then his lip quivers slightly – just slightly – with the merest hint of mirth. You can see the moment below. We should have known. We should have known!

  

  July 28, 2015: Ellie Goulding appears either to be in on the joke or to have been woefully misinterpreted, when she posts this Instagram photo at London’s Abbey Road – where Adele recorded ‘Skyfall’. We’re convinced that Smith was telling the truth – that Goulding is in fact singing the theme – and if this is her going along with the ruse, good on her. Good work. If she’s just recorded something else there, well, we don’t really care so much about that.

  

  September 3, 2015: Five days ago. Just five days before he makes the announcement, and he’s still lying, still on camera, and to Jo Whiley of all people. How do you lie to Jo Whiley? There’s something inhuman about that.
  
  If we’ve learned one thing from all this, it’s that Sam Smith is not to be trusted. If you encounter a Sam Smith in your local area, your best chance of survival is to run or hide, and tell the police. Don’t say we didn’t warn you.

  
  2017: Blanche Lindo Blackwell dies at age 95--London, England.
  (Born 9 December 1912--San José, Costa Rica.)

  
  Jamaica

  Blanche Blackwell obituary

  https://www.theguardian.com/world/2017/aug/29/blanche-blackwell-obituary
  Heiress who became the ‘Jamaican wife’ of James Bond creator Ian
  Fleming and was supposedly the model for Goldfinger’s Pussy
  Galore
  Ian Thomson | Tue 29 Aug 2017 12.26 EDT

  

  Blanche Blackwell and Ian Fleming.
  Photograph: Taken from the biography of Ian Fleming by Andrew Lycett

  Blanche Blackwell, who has died aged 104, was a divorcee in her 40s when in 1956 she met Ian Fleming, her neighbour in Jamaica and the creator of James Bond; and soon they became lovers. Cracks had by then begun to show in Fleming’s marriage to Ann Charteris. Ann was ashamed of her husband’s success as a thriller writer (the Bond novels were “pornography”, she told friends), and had begun to stay away from their Jamaican home, Goldeneye.

  Blackwell’s friendship with Fleming intensified when Ann began an affair with the politician Hugh Gaitskell. Ann became suspicious of “Ian’s Jamaican wife” after Anthony Eden’s wife, Clarissa, mentioned how helpful Blackwell had been at Goldeneye when the prime minister recuperated there in 1956 after the debacle of Suez. In an attempt to make Goldeneye more welcoming for the Edens, Blackwell had planted the garden with flowers; Ann later tore them out and threw them over the cliff.

  Fleming wrote all 13 of his 007 novels in Jamaica, though only three (Dr No, Live and Let Die, The Man with the Golden Gun) were set partly on the island. Noël Coward, another neighbour, dubbed Fleming’s home “Goldeneye, nose and throat” for its lack of creature comforts. It was in this Spartan retreat that Fleming immersed himself in a Bond-like life of tropical oblivion fuelled by vodka and cigarettes (like 007, Fleming smoked 70 a day).
  
  Impishly, he included sketches of his friends (and enemies) in his fiction. Blackwell was supposedly a model for Pussy Galore, the trapeze artist turned leader of a team of lesbian cat burglars who passes herself off as an air stewardess in his novel Goldfinger; for the film, she is a pilot and martial arts expert. In Dr No, the guano-collecting ship was named the Blanche. Blackwell claimed not to have read any of the books, though: “I don’t like violence.”

  Daughter of Hilda (nee Lindo) and Percy Lindo, cousins who married, she was born into a wealthy Jamaican family, descended from Sephardic Jews from western Europe who had settled in Kingston in the mid-18th century and came to control much of the island’s commerce. Her father had helped to consolidate the family fortune in Costa Rica – where Blanche was born, in San José – before returning to Jamaica, where he owned property and produced rum.
  
  In 1936, in London, Blanche married Joseph Blackwell, a captain in the Irish Guards and heir to the Crosse & Blackwell foods fortune. Together they ran the family estates in Jamaica and owned a string of racehorses. In 1937 their son Christopher was born. Blanche was not happy in the marriage, however. The actor Errol Flynn (“a gorgeous god,” Blackwell called him) became one of her admirers.
  
  By the time she and Joseph divorced in 1949, she had moved to Jamaica’s north coast, to a house equidistant between Coward’s and Fleming’s. “Noël became a special pal of mine,” Blackwell told me during an interview in 2007, and Coward was said to have based his play Volcano on island life, and one of its central characters, Adela, on Blackwell.
  
  Fleming adored “Birdie” Blackwell and her darting, kingfisher mind. And Blackwell, in her turn, considered Fleming a “charming, handsome, gifted man”, but one plagued by self-doubt and self-hate. “Ian was an angel”, she told me. “Errol was another … Both lovely men – both exceptionally gifted and definitely not for domesticating.”
  
  When Fleming died of a heart attack in 1964, Blanche was invited neither to the funeral nor the memorial service. For years, she kept watch over Goldeneye for Fleming’s son Caspar; and after Caspar’s death in 1975 the house was bought first by Bob Marley, and then by her son, Chris, the founder in 1959 of Island Records, who had “discovered” Marley.
  
  Tough and good-humoured, in later life Blackwell wore her white hair bobbed round an animated, heart-shaped face. Her life, until she decamped in 2003 to a flat in Knightsbridge, London, had been one of island entertainments and literary friendships. Now, looked after by three Jamaican maids, Blackwell became an unlikely devotee of bingo. Each week her chauffeur took her to the Cricklewood Mecca to play. In Kingston, she had liked to bet on the horses, but London bingo was not without its thrills. “Cricklewood might seem a little dull to you,” she said. “It isn’t really. I could sit for hours in the Mecca. The tension as your number comes up. Bing-bing-bingo!”
  
  She is survived by her son.
  • Blanche Blackwell, born 9 December 1912; died 8 August 2017
  
  This article was amended on 13 September 2017. The original description of Pussy Galore as a pilot and martial arts expert applies only to the film; in the novel she is a trapeze artist turned leader of a team of lesbian cat burglars who passes herself off as an air stewardess.

  See also

  
  Blanche Blackwell, mistress and muse of
  James Bond's creator
  https://www.independent.co.uk/news/obituaries/blanche-blackwell-mistress-and-muse-of-james-bonds-creator-a7893731.html
  Descended from a wealthy Jamaican family, she also enchanted Errol Flynn and inspired Noel Coward
  Matt Schudel | Tuesday 15 August 2017 11:27

  

  Vivacious and outdoorsy, Blackwell said she had lived a ‘marvelous life’

  
  2020: Matt Sherman's Playing Games With James Bond is independently published.

  https://literary007.com/2020/10/05/playing-games-with-james-bond-and-matt-sherman/
  
  https://bondonthebox.wordpress.com/2020/10/25/playing-games-with-james-bond-by-matt-sherman/
  

  
  
  
  

  
  2021: The Golden Gate Park Band plays Video Game Music plus Music from Stage & Screen at the Golden Gate Park Shell, San Francisco.

  

  

  Video Game Music plus Music from Stage & Screen

  See the complete article here:
  

  https://goldengateparkband.org/calendar/?mc_id=6

  Calendar
  Video Game Music plus Music from Stage & Screen
  August 8, 2021 1:00 pm – 2:45 pm
  Golden Gate Park Bandshell
  San Francisco, CA

  Program will be selected from the following:
  El Caballero---Joseph Olivadoti
  Beguine for Band--Glenn Osser
  Minecraft---Daniel Rosenfeld/arr Ralph Ford
  Spirited Away---Joe Hisaishi & Yumi Kimura/arr Kazuhiro Morita
  Video Games Live--Part I---Marty O'Donnell/arr Ralph Ford
  Waltz no 2 and March from Jazz Suite---Dmitri Shostakovich/arr Johan De Meij
  Lincoln--John Williams/arr Jay Bocook
  Bond...James Bond---arr Stephen Bulla
  Symphonic Dances from Fiddler on the Roof---Jerry Bock/arr Ira Hearshen

  Donations to the GGPB fund are tax-deductible.
  
  The GGP Band is a non-profit organization sponsored by the Recreation & Park Department of San Francisco.

  
  
  

  
  2025: International Cat Day.

  2022
  

  https://twitter.com/007/status/1292128442343809025

  
  
  2018
  https://www.facebook.com/JamesBond007/videos/international-cat-day/2205076872840545/
  

  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 8 Posts: 14,668

  August 9th
  
  1927: Robert Archibald Shaw is born--Westhoughton, Lancashire, England.
  (He dies 28 August 1978 at age 51--Tourmakeady, County Mayo, England.)

  

  Actor Robert Shaw, Known for Menacing
  Roles, Dies in Ireland

  See the complete article here:
  

  https://www.washingtonpost.com/archive/local/1978/08/29/actor-robert-shaw-known-for-menacing-roles-dies-in-ireland/10011e2d-0410-4cb0-a10b-90457d2f89a5/

  By Gary Arnold | August 29, 1978
  
  Robert Shaw, 52, one of the most forceful and successful character actors on the contemporary English speaking screen, died Sunday near his home in Ireland.
  
  According to a police spokesman, Mr. Shaw became ill while driving with his third wife, Virginia, and their 20-month-old son, Thomas, near the family's home in Tourmakeady, County Mayo. Mr. Shaw reportedly stopped the car, got out and died on the roadside.

  Mr. Shaw first achieved movie prominence in 1964 as the sinister assassin with granite physique and short platinum haircut who stalked Sean Connery's James Bond in "From Russia With Love." Later, he made imposing invaluable contributions to a pair of Academy award-winning films-the 1966 "A Man for All Seaons" in which he won an Oscar nomination for his supporting portrayal of Henry VIII, and the 1973 "The Sting," in which he played a menacing Irish gangster-and to one of the greatest box-office sensations, "Jaws," in which he appeared as the fanatical shark-hunter Quint.

  While pursuing a notable acting career in the theater and motion pictures. Mr. Shaw also wrote five novels and three plays. He was working on a sixth novel at the time of his death. In a recent interview he remarked. "I find acting much easier than writing, but writing is more important to me. I think as I get older I'd rather write, but acting is so much more profitable." Mr. Shaw's best-known literary effort was The Man in the Glass Booth, a novel the author himself later dramatized successfully.
  
  Born in the Lancashire town of Westhoughton on Aug. 9, 1927. Mr. Shaw grew up in Cornwall and the Orkney Islands. His father, a doctor, committed suicide with an overdose of opium when Robert Shaw was 12.
  
  As a youth, Mr. Shaw excelled at sports, especially rugby, squash and track where his specialty was the 400-meter dash. He spurned a scholarship to Cambridge and a career in the family profession of medicine to apply at the Royal Academy of Dramatic Art in London in 1945. He later recalled RADA with fond horror as a hotbed of competition for aspiring actors in the post-war period, "closer to a concentration camp than a school."
  
  After graduation from RADA, Mr. Shaw spent several years as a member of the Shakespeare Memorial Theatre at Stratford-on-Avon and the Old Vic. He made his professional debut at Stratford-on-Avon as Angus in "Macbeth." His most noteworthy West End credits were "Tiger at the Gates" in 1956 and "The Long and Short and the Tall" in 1959, the same year his first novel, "The Hiding Place," was published.
  
  Mr. Shaw made his film debut in the 1955 British war melodrama "The Dam Busters." Ironically, he will star as the chief dam-buster in "Force 10 from Navarrone" an adventure melodrama about World War II commandoes scheduled for release at Christmas. He also had completed a starring role as a defecting KGB agent in "Avalance Express" at the time of his death. This spy thriller, which costars Lee Marvin, is tentatively scheduled for release in the spring of 1979.
  
  Alert moviegoers might have spotted Mr. Shaw early in 1964 as one of the fascinating misfits in "The Guest" the movie version of Harold Pinter's play "The Caretaker." With in a few months the success of "From Russia With Love" brought mass audience recognition to Mr. Shaw, and fame soon caught up with his costars from "The Caretaker," Donald Pleasence and Alan Bates.
  
  Mr. Shaw's theatrical career has been linked closely with Pleasence and Pinter. He made his Broadway debut in a production of Pinter's "The Physicists" and later costarred in Pinter's "Old Times." Pleasense enjoyed a Broadway triumph in the title role of "The Man in the Glass Booth," which was directed by Pinter.
  
  In an interview with Clarke Taylor that appeared in the Washington Post two years ago, Mr. Shaw stated, "My time is real development, both personally and professionally, came in working with Harold Pinter. He's the most interesting talent working in the theater today. It was a great creative, happy period for me."
  
  A prolific actor and author, Mr. Shaw also extended himself as a paterfamilias. He had four daughters by his first marriage, to Jennifer Bourke, then two sons and two daughters by his second marriage, to actress Mary Ure, who died in 1975 from a fatal combination of alcohol and barbiturate poisoning. Mr. Shaw's third wife, the former Virginia Jansen, had worked as the secretary to the actor and Miss Ure for many tears. Mr. Shaw adopted Jansen's son by a previous marriage, and their own son was born in December 1976.
  
  Mr Shaw frequently cited this brood as a spur to his creative or merly mercenary activity. Discussing his choice of certain film roles with Taylor, Mr. Shaw confided, "Money isn't the sole reason. But I do seem to spend more than I earn. And it takes a lot of money to raise these children of mine.
  
  "I don't spend much on myself, maybe a drink. And I like to travel and stay at really fine hotels. I have an interest in fast cars, and I now have a Mercedes 450SL, but it's not like before, when I woned Rolls Royce convertibles and Astin Martins [sic]. Of course, the tax situation in Britain is impossible.
  
  "I wake up in the middle of the night, frequently, with pain and humiliation and a great deal of shame at some of the work I've done in films. And I would do a good movie any day, regardless of the money. Unfortunately, there aren't many, and . . . if you are not successful now and again, nobody asks you to be in any movies at all. For years the studios would say 'Shaw's pictures make no money, he's not an international star.'"
  
  Despite his vital participation in such hits as "The Sting" and "Jaws," Mr. Shaw never quite established credibility as a bankable star. Usually at his best as a menace, he may have had too much authority for conventional heroic leads. At any rate, he failed to bring a satisfying heroic or romantic presence to such starring vehicles as "Custer of the West," "Swashbuckler" and "Black Sunday." His physically and technique had a rather intimidating potency. He was frequently an impressive performer but rarely an ingratiating one.
  
  Assessing his work, Mr. Shaw remarked. "Most of the time, in movies, I'm about 50 times larger than the part." While justified by the evidence, self-criticism like this was no doubt instrumental in earning the rugged, outspoken actor a reputation for insufferable vanity from some segments of the press.

  Moviegoers and film-makers can attest to the authenticity of that larger-than-life quality. Mr Shaw's most gripping sustained scene on film is probably Quint's description of the shark attack on survivors of the U.S.S. Indianapolis that anticipates the thrilling finale of "Jaws."
  
  Director Steven Spielberg has recalled that Mr. Shaw's first reading of Quint's speech, which the actor had helped rewrite, "devastated the set." Ironically, "the effect was so overwhelming that it threatened to capsize everyone prematurely. We had to do it again, with more restraint. In terms of the finished film, the reading was even better because Bob was imposing more controls on his emotions."

  The larger-than-life identity seems certain to endure, but Mr. Shaw did submerge himself in the role of a victimized man in "The Caretaker" and a frustrated man in "The Luck of Ginger Coffrey." Irvin Kershner's fine, unjustly neglected movie version of Brian Moore's novel. Mr. Shaw also was prominently, if indecisively, featured in such movies as "Young Winston" (where he played Lord Randolph Churchill). "The Battle of Britain," "The Birthday Party." "Robin and Marian" (as the Sheriff of Nottingham) and "The Taking of Pelham 1-2-3."
  
  He achieved considerable success in England as the lead in a television series called "The Buccaneers." He made a brief, unsuccessful attempt at the Broadway musical stage in 1970 as a singing Elmer Gantry in a failed song-and-dance adaptation of the Sinclair Lewis novel.
  
  Three years ago, Mr. Shaw bought a 150-year-old mansion near a troutfilled lake in Tourmakeady and moved in with his wife and most of the Shaw progeny. According to friends, he described the location as "the nearest point on earth to heaven" and added. "When I go, I hope it will be from here."

  

  Robert Shaw

  https://en.wikipedia.org/wiki/Robert_Shaw_(actor)
  
  Work

  Stage
  The Caretaker (1962)
  The Physicists (1964)
  The Man in the Glass Booth (1968)
  Gantry (1970)
  Old Times (1971)
  The Dance of Death (1974)
  
  Filmography
  
  The Cherry Orchard (1947)
  
  The Lavender Hill Mob (1951) – Chemist at Police Exhibition (uncredited)
  The Dam Busters (1954) – Flight Sgt. J. Pulford
  Double Cross (1956) – Ernest
  A Hill in Korea (1956) – Lance Corporal Hodge
  The Buccaneers (1956–1957, TV Series) – Captain Dan Tempest
  Rupert of Hentzau (TV, 1957) – Rupert of Hentzau
  Sea Fury (1958) – Gorman
  Libel (1959) – First Photographer
  
  The Four Just Men (1960, TV Series) – Stuart
  The Dark Man (TV, 1960) – Alan Regan
  Danger Man (1961) – TV episode – Bury The Dead – Tony Costello
  The Winter's Tale (1961) – Leontes
  The Valiant (1962) – Lieutenant Field
  The Father (1962) – The Captain
  Tomorrow at Ten (1962) – Marlowe
  The Caretaker (1963) – Aston
  The Cracksman (1963) – Moke
  From Russia with Love (1963) – Donald 'Red' Grant
  Hamlet (1964) – Claudius, King of Denmark
  The Luck of Ginger Coffey (1964) – Ginger Coffey
  Carol for Another Christmas (1964) – Ghost of Christmas Future
  Battle of the Bulge (1965) – Col. Martin Hessler
  A Man for All Seasons (1966) – King Henry VIII
  Custer of the West (1967) – Gen. George Armstrong Custer
  Luther (TV, 1968) – Martin Luther
  The Birthday Party (1968) – Stanley Webber
  Battle of Britain (1969) – Squadron Leader "Skipper"
  The Royal Hunt of the Sun (1969) – Francisco Pizarro
  
  Figures in a Landscape (1970) – MacConnachie (also adapted for the screen)
  A Town Called Bastard (a.k.a. A Town Called Hell) (1971) – The Priest
  Young Winston (1972) – Lord Randolph Churchill
  A Reflection of Fear (a.k.a. Labyrinth) (1973) – Michael
  The Hireling (1973) – Steven Ledbetter
  The Golden Voyage of Sinbad (1973) – The Oracle of All Knowledge (uncredited)
  The Sting (1973) – Doyle Lonnegan
  The Taking of Pelham One Two Three (1974) – Mr. Blue – Bernard Ryder
  Jaws (1975) – Quint
  The Man in the Glass Booth (1975) – Writer only
  End of the Game (a.k.a. Der Richter und sein Henker, Murder on the Bridge, Deception, and Getting Away with Murder) (1975) – Richard Gastmann
  Diamonds (a.k.a. Diamond Shaft) (1975) – Charles / Earl Hodgson
  Robin and Marian (1976) – Sheriff of Nottingham
  Swashbuckler (a.k.a. Scarlet Buccaneer) (1976) – Ned Lynch
  Black Sunday (1977) – Major David Kabokov
  The Deep (1977) – Romer Treece
  Force 10 from Navarone (1978) – Major Keith Mallory
  Avalanche Express (1979) – General Marenkov (final film role)
  
  Writing
  The Hiding Place (1960)
  The Sun Doctor (1961)
  The Flag (1965)
  Situation Hopeless... But Not Serious (screenplay adaptation of The Hiding Place, 1965)
  The Man in the Glass Booth (1967)
  The Man in the Glass Booth (play adaptation, 1968)
  A Card from Morocco (1969)
  Figures in a Landscape (1970) (screenplay adaptation of novel)
  Cato Street (play, 1971)
  
  Awards
  He became the second actor to be nominated to the 39th Academy Awards for playing Henry VIII of England in the film A Man for All Seasons (1966). He was also nominated to the 24th Golden Globe Awards for the same role.

  
  
  
  
  

  
  1977: On Her Majesty's Secret Service re-released in the Philippines.
  1979: Moonraker: Misión espacial (Moonraker: Special Mission) released in Argentina.

  
  
  
  https://www.comicsroyale.com/
  
  

  

  
  1985: Agent 007 i skudlinien (Agent 007 in the Firing Line) released in Denmark.

  https://www.bond-o-rama.dk/en/avtak-dk-poster-1985/

  
  
  

  1985: 007 ja kuoleman katse (007 and a Look at Death) released in Finland.

  
  https://ahvenaario.wordpress.com/2017/09/08/roskasarjat-007-ja-kuoleman-katse/
  
  

  1985: James Bond 007 – Im Angesicht des Todes (James Bond 007 - In the Face of Death) released in West Germany.

  
  
  
  
  
  
  
  

  
  1987: The New York Times prints a letter to the editor written by Raymond Benson responding to Janet Maslin's 31 July review of The Living Daylights and her comments on Timothy Dalton.

  

  To the Editor:
  
  As the vice president of the James Bond 007 Fan Club and author of ''The James Bond Bedside Companion,'' which studies the Bond phenomenon, Ian Fleming's life and the James Bond character, I feel I am qualified to comment on Janet Maslin's review, ''Film: 'Living Daylights,' With the New Bond'' [ July 31 ] . She has mildly criticized Timothy Dalton's performance as being almost ''too serious.''
  
  I would like to point out that up to this point, we have never seen a ''purist's'' characterization of the Bond character on the screen, i.e., one who embodies Ian Fleming's original character from the novels. Sean Connery was magnificent in the role; he added a sardonic, cynical amusement to the character that sold 007 to audiences around the world, but this was not necessarily a trait of the literary Bond. George Lazenby merely attempted to emulate Connery's performance and failed. Roger Moore, who publicly admitted ignoring the Fleming books, made the character his own by turning Bond into a superficially charming international playboy who uses one-liners and a raised eyebrow to escape dangerous situations.
  
  Timothy Dalton, on the other hand, has gone back to Fleming and has attempted (and in my opinion, succeeded very well) in creating the author's Bond - a real flesh-and-blood man who has doubts and feelings. James Bond is not a superman; he detests killing and does it because it's his job; he is not ''witty'' and ''dapper'' as the films have so often portrayed him; he is somber and reflective, basically cold-hearted, ruthless, and he takes his job very seriously. When it comes to food and drink, he is a gourmand - he simply appreciates what he likes; because he must usually ''dine alone,'' he insists on his meals and drinks prepared a specific way. Mr. Dalton is presenting to us the most accurate interpretation of the literary character we've ever seen on screen.
  
  As for the new film's treatment of Bond's womanizing (he only sleeps with one woman in this one), this was a conscious decision on the film makers' part as a response to the current AIDS crisis. It just wouldn't do to have Bond hop from bed to bed in this day and age, even if it is a bit out of character.
  
  I feel that ''The Living Daylights'' is the most mature and most ''adult'' Bond film since the 60's.
  
  RAYMOND BENSON New York City

  
  1991: The United Nations Children's Fund (UNICEF) appoints Roger Moore as Goodwill Ambassador
  and its special representative for the film arts.

  
  https://unicef.org/
  
  
  
  

  
  2002: RTE reports that Lee Tamahori told Vanity Fair about filming a steamy love scene with Pierce Brosnan and Halle Berry.

  

  Brosnan shoots steamy Berry scene

  See the complete article here:
  

  https://www.rte.ie/entertainment/2002/0809/397333-brosnanp/

  Originally Published / Friday, 9 Aug 2002
  
  007 star Pierce Brosnan has just completed filming a steamy love scene with Bond girl Halle Berry for the latest James Bond movie.
  
  Director Lee Tamahori told Vanity Fair magazine he had shot a sizzling scene for 'Die Another Day' but is not sure whether it will survive the censors, or even make the producers' cut.
  
  Navan born Brosnan is playing the secret agent in the 20th Bond film.
  
  The world premiere of 'Die Another Day' will take place at London's Royal Albert Hall on 18 November.

  
  
  

  
  2018: Forbidden History airs "The Real James Bond" featuring footage of Fleming plus Maryam d'Abo.

  

  

  Forbidden History (2013– )
  The Real James Bond

  https://www.imdb.com/title/tt8817054/
  1h | Documentary, History | Episode aired 9 August 2018
  Season 5 | Episode 4
  
  Jamie uncovers the truth behind the world famous fictional spy, revealing those elements of the character that were drawn from creator Ian Fleming's own experiences.
  
  Cast (in credits order)
  Jamie Theakston ... Self - Presenter / Narrator
  Rest of cast listed alphabetically:
  Maryam d'Abo ... Self
  Ian Fleming ... Self (archive footage)
  Andrew Gough ... Andrew Gough

  Available to enhanceTV subscribers.
  
  https://www.enhancetv.com.au/video/forbidden-history-the-real-james-bond/53344

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 9 Posts: 14,668

  August 10th
  
  1918: Martin Benson is born--London, England.
  (He dies 28 February 2010 at age 91--Markyate, Hetfordshire, England.)

  

  Martin Benson obituary

  See the complete article here:
  

  https://www.theguardian.com/film/2010/may/06/martin-benson-obituary

  Often cast as villains, he appeared in Goldfinger and The King and I
  Gavin Gaughan
  Thu 6 May 2010 13.49 EDT

  
  Martin Benson in the 1985 TV wartime drama Arch of Triumph Photograph: ITV / Rex Features

  The actor Martin Benson, who has died aged 91, occupied a screen category filled in its time by Herbert Lom, with whom he acted on several occasions, and previously Conrad Veidt – that of the worldly, sophisticated, foreign villain. With jet-black hair, dark colouring and pronounced eyebrows on a thin face, he never seemed properly dressed without a tuxedo. As well as remaining furiously busy during six decades as an actor, he pursued several artistic disciplines.
  
  Born into a Jewish family in London, he seemed briefly destined to become a pharmacist. As a gunner in the army during the second world war, he organised entertainment for the troops, and produced a tour of Gaslight in aid of a fund to replace HMS Dorsetshire. By 1944, he had been promoted to captain and was posted to Alexandria, Egypt, where he built a theatre from scratch, assisted by his sergeant-major, another aspiring actor – Arthur Lowe.
  
  Among Benson's earliest screen roles was an unbilled part for Alfred Hitchcock in Under Capricorn (1949). The King and I had its British stage premiere at Drury Lane in October 1953, with Lom as the King, and Benson as his court chancellor, Kralahome. Benson played the part again opposite Yul Brynner in the Hollywood film version in 1956. He also played the King himself in February 1955, when Lom was ill. Benson later asserted that "despite the reputation which Yul Brynner continues to enjoy, the more intelligent as well as intelligible performance came from Herbert Lom, notwithstanding a good deal less swagger".
  
  Back in Britain and in modestly budgeted monochrome thrillers, he was on characteristic form in Soho Incident (1956) as a "big boss" running crooked boxing and horse-racing schemes. Venturing into television, Benson was among a repertory company of actors in the half-hour anthology Douglas Fairbanks Presents (1953-57), aimed at US television, shown in Britain as cinema shorts and as schedule-fillers in ITV's early days. Benson also worked on the scripts, where as many foreign settings were included as possible. Another rep company member was Christopher Lee, who called it a valuable training ground. He and Benson made up a comic double act for one segment, The Death of Michael Turbin (1953), as slow-witted east Europeans.
  
  He was a regular, as the villainous Duke de Medici, in Sword of Freedom (1957-58). In 1958 and 1959, he played a barrister in the unscripted courtroom series The Verdict Is Yours and, in On Trial (1960), which recreated celebrated cases, Micheal MacLiammoir played Oscar Wilde, with Benson as his prosecutor, Edward Carson.

  After a role in Cleopatra (1963), he was an American gangster coerced into taking a doomed car ride with the henchman Oddjob, in Goldfinger (1964). He was among a houseful of suspects in Peter Sellers's second outing as Clouseau, A Shot in the Dark (1964).

  From 1960 to 1985, Martin Benson Films, based in Radlett in Hertfordshire, made more then 100 educational and training films, which Benson directed, wrote and occasionally narrated. Some were for Save the Children.
  
  For Lew Grade's ITC series, the logical successors to the Fairbanks shows, he variously played corrupt South American ministers, Algerian majors, ruthless Turkish policemen and cigar-smoking gamblers. Submerged under green makeup, Benson played the Vogon Captain, an excruciatingly bad poet, in Douglas Adams's The Hitch Hiker's Guide to the Galaxy (1981).
  
  Benson began painting in his stage dressing room, and in 1993 he staged an exhibition of his Shakespearean paintings at the Shakespeare Globe Centre, the subjects including Laurence Olivier, John Gielgud and Alec Guinness.
  
  His later credits included Alan Parker's adaptation of Angela's Ashes (1999) and a 2005 episode of Casualty.
  
  His wife Joy, son and three daughters, two stepdaughters and one stepson survive him.
  
  • Martin Benson, actor, born 10 August 1918; died 28 February 2010

  
  Martin Benson
  https://en.wikipedia.org/wiki/Martin_Benson_(actor)
  
  Filmography

  Suspected Person (1942) as minor role (uncredited)[citation needed]
  The Blind Goddess (1948) as Count Stephan Mikla
  But Not in Vain (1948) as Mark Meyer
  Trapped by the Terror (1949) as Prison Governor[citation needed]
  Under Capricorn (1949) as Man Carrying Shrunken Head (uncredited)[citation needed]
  The Adventures of PC 49: Investigating the Case of the Guardian Angel (1949) as Skinny Ellis
  
  I'll Get You for This (1951) as Frankie Sperazza
  Assassin for Hire (1951) as Catesby
  Night Without Stars (1951) as White Cap
  The Dark Light (1951) as Luigi
  Hotel Sahara (1951) as Minor Role (uncredited)[citation needed]
  Mystery Junction (1951) as Steve Harding
  Judgment Deferred (1952) as Pierre Desportes
  The Frightened Man (1952) as Alec Stone
  Wide Boy (1952) as Rocco
  Ivanhoe (1952) as Minor Role (uncredited)[citation needed]
  The Gambler and the Lady (1952) as Tony - Pat's Dance Partner
  Top of the Form (1953) as Cliquot
  Wheel of Fate (1953) as Riscoe
  Recoil (1953) as Farnborough
  Always a Bride (1953) as Hotel Desk Clerk (uncredited)[citation needed]
  Black 13 (1953) as Bruno
  Escape by Night (1953) as Guillio
  You Know What Sailors Are (1954) as Agrarian Officer (uncredited)[citation needed]
  West of Zanzibar (1954) as Dhofar
  Knave of Hearts (1954) as Art (uncredited)[citation needed]
  Passage Home (1955) as Gutierres
  Doctor at Sea (1955) as Head Waiter (uncredited)[citation needed]
  Soho Incident (aka Spin a Dark Web) (1956) as Rico Francesi
  23 Paces to Baker Street (1956) as Pillings
  The King and I (1956) as Kralahome
  Istanbul (1957) as Mr. Darius
  Doctor at Large (1957) as Maharajah of Rhanda
  Interpol (1957) as Captain Varolli
  The Flesh Is Weak (1957) as Angelo Giani
  Man from Tangier (1957) as Voss
  Windom's Way (1957) as Samcar, Rebel Commander (uncredited)[citation needed]
  The Strange World of Planet X (1958) as Smith
  Sea of Sand (1958) as German Half-track Officer (uncredited)[citation needed]
  The Two-Headed Spy (1958) as Gen. Wagner
  Make Mine a Million (1959) as Chairman
  Killers of Kilimanjaro (1959) as Ali
  
  Once More, with Feeling! (1960) as Luigi Bardini
  Oscar Wilde (1960) as George Alexander
  Sands of the Desert (1960) as Selim
  The Gentle Trap (1960) as Ricky Barnes[citation needed]
  The 3 Worlds of Gulliver (1960) as Flimnap
  Exodus (1960) as Mordekai
  Gorgo (1961) as Dorkin
  Five Golden Hours (1961) as Enrico
  A Matter of WHO (1961) as Rahman
  The Silent Invasion (1962) as Borge
  Satan Never Sleeps (1962) as Kuznietsky
  Village of Daughters (1962) as 1st Pickpocket
  Captain Clegg (1962) as Mr. Rash (innkeeper)
  I tre nemic (1962) as Prof. Otto Kreutz[citation needed]
  The Fur Collar (1962) as Martin Benson
  Cleopatra (1963) as Ramos
  Mozambique (1964) as Da Silva
  The Secret Door (1964) as Edmundo Vara
  A Shot in the Dark (1964) as Maurice
  Behold a Pale Horse (1964) as Priest
  Goldfinger (1964) as Mr. Solo
  The Secret of My Success (1965) as Rex Mansard
  A Man Could Get Killed (1966) as Politanu
  The Magnificent Two (1967) as President Diaz
  Battle Beneath the Earth (1967) as Gen. Chan Lu
  
  Pope Joan (1972) as Lothair
  Tiffany Jones (1973) as Petcek
  The Omen (1976) as Father Spiletto
  Mohammad, Messenger of God (1976) as Abu-Jahal
  Al-risâlah (1976) as Kisra[citation needed]
  Jesus of Nazareth (1977, TV mini-series) as Pharisee
  Meetings with Remarkable Men (1979) as Dr. Ivanov
  The Human Factor (1979) as Boris
  The Sea Wolves (1980) as Mr. Montero
  Sphinx (1981) as Muhammed
  Young Toscanini (1988) as Comparsa (uncredited)[citation needed]
  
  The Camomile Lawn (1992) as Pauli Erstweiler
  Angela's Ashes (1999) as Christian brother

  
  
  

  
  1928: Jimmy Dean is born--Plainview, Texas.
  (He dies 13 June 2010 at age 81--Varina, Virginia.)

  

  Jimmy Dean dies at 81; country music star and sausage king

  See the complete article here:
  

  https://www.latimes.com/local/obituaries/la-me-jimmy-dean-20100615-story.html

  By Dennis McLellan
  | Los Angeles Times | Jun 15, 2010 | 12:00 AM

  
  Jimmy Dean helped bring country music into the mainstream in the 1960s. (CBS TV)

  When the Country Music Assn. announced in February that Jimmy Dean would be inducted into the Country Music Hall of Fame later this year, Dean joked, "I thought I was already in there."
  
  "Seriously, it brought a huge grin to my face," he said in a news release. "I am honored."
  
  Dean already had been inducted into the Virginia Country Music Hall of Fame in 1997 and the Texas Music Hall of Fame in 2005.
  
  That's not to mention his 2009 induction into the Meat Industry Hall of Fame.
  
  Indeed, Dean, who died Sunday evening at his home in Henrico County, Va., at age 81, may be better known by some today as "the sausage king" of TV commercial fame than a hit-making country music star and one-time TV show host who helped bring country music into the mainstream in the 1960s.
  
  The Texas-born entertainer and businessman, who began his recording career in the 1950s, scored a No. 1 hit on both the country and pop singles charts in 1961 with his spoken-narrative song about a coal miner — "a giant of a man" — who saves fellow workers from "a would-be grave" after their mine collapses.
  
  "Big Bad John," which Dean said he wrote in an hour and a half on a flight from New York to Tennessee, earned a Grammy Award for best country and western recording.
  
  The 1960s were the down-home entertainer's heyday.
  
  He went on to record hits including "Dear Ivan," "Little Black Book," "P.T. 109" (inspired by the Naval vessel commanded by John F. Kennedy during World War II) and "The First Thing Ev'ry Morning (And the Last Thing Ev'ry Night)."
  
  From 1963 to '66, he hosted "The Jimmy Dean Show," an hourlong TV musical variety show that ran on ABC and featured singers including Roger Miller, George Jones and Buck Owens. The show also regularly featured Dean's humorous banter with a "dog" named Rowlf, the first of Jim Henson's Muppets to attract national attention.

  Along with headlining in Las Vegas and performing in venues such as Carnegie Hall and the London Palladium, Dean played fur trapper Josh Clements on Fess Parker's "Daniel Boone" series in the late '60s and had the supporting role of a reclusive billionaire in the 1971 James Bond film "Diamonds Are Forever."

  He launched the Jimmy Dean Meat Co. in the late '60s, after previously buying a hog farm in his native Texas.
  
  "Everything was fine and dandy until hog prices dropped out," he told the Richmond Times-Dispatch in 2004. "One morning I was having breakfast at a little old diner in Plainview — sausages and eggs — and reached up and plucked a [large] piece of gristle out of my teeth."
  
  It was then, he said, that he became determined to produce a quality sausage.
  
  "It was not something I just put my name on," he said. "It was my money and my sausage and my work — and those commercials that they think are so funny."
  
  After selling his meat company to what later became known as the Sara Lee Corp. in 1984, he remained as chairman of the board and TV spokesman. After he was dropped as spokesman in 2003, Dean reportedly stopped eating the products that bear his name and changed his license plates that read SSG KING.
  
  Dean was born Aug. 10, 1928, in Olton, Texas, and grew up in Plainview. He and his brother Don were raised on a farm by their mother after their father left when Dean was still a child. They were so poor, he once said, he wore shirts that his mother made out of sugar sacks.
  
  Poverty, Dean told the Times-Dispatch, "was the greatest motivating factor in my life."
  
  He began singing early on, and his mother taught him to play his first chord on the piano when he was 10. He later taught himself to play the harmonica, guitar and accordion.
  
  Dropping out of high school at 16, he joined the Merchant Marines and later served in the Air Force. While stationed at a base in Washington, D.C., Dean and three other airmen formed a country music quartet that played local honkytonks.
  
  After his discharge in 1948, Dean formed the Texas Wildcats. He began developing a following with a show on an Arlington, Va., radio station and had his first country top 10 hit, "Bumming Around," in 1953.
  
  Dean and the Texas Wildcats moved to local television in 1955, and from 1957 to 1959 he hosted the first version of "The Jimmy Dean Show," a half-hour daily variety series on CBS.
  
  Thirty Years of Sausage, Fifty Years of Ham: Jimmy Dean's Own Story, a 2004 autobiography, was co-written with his second wife, Donna Meade Dean, a singer and songwriter he married in 1991.
  
  In addition to his wife, he is survived by his children from his first marriage, Garry Dean, Connie Dean Taylor and Robert Dean; and two granddaughters.
  
  [email protected]

  

  Jimmy Dean (I) (1928–2010)

  Soundtrack | Actor
  https://www.imdb.com/name/nm0212818/?ref_=nv_sr_srsg_0
  

  

  
  
  
  

  
  1959: Diamonds Are Forever comic strip begins its run in The Daily Express.
  (Ends 30 January 1960. 340-487) John McLusky, artist. Henry Gammidge, writer.

  
  
  
  
  
  Swedish Semic 1972
  https://www.mi6-hq.com/sections/comics/semic_1972.php3?s=comics&id=01759

  Diamantfeber
  (Diamond Fever - Diamonds Are Forever)
  

  
  Swedish Semic 1988
  https://www.mi6-hq.com/sections/comics/semic_1988.php3?s=comics&id=02331

  Diamantfeber
  (Diamonds Are Forever - Part 1) (Diamonds Are Forever - Part 2)
  
  
  
  
  

  
  Danish 1967 https://www.bond-o-rama.dk/en/jb007-dk-no9-1967/

  James Bond Agent 007 no. 9: “Diamonds are Forever” (1967)
  "Død og diamanter" [Death and diamonds]
  
  
  

  
  1962: Life prints Tim Green's article “Bon Vivant and the Scourge of Smersh: The Master of Agent 007.”

  
  

  1963: Sean Connery finishes all From Russia With Love filming, ending in Rhoda’s truck.

  https://twitter.com/007/status/895676125904478210

  1966: Stars and Stripes reports on You Only Live Twice filming.

  

  '007' takes Japanese village by storm

  See the complete article here:
  

  https://www.stripes.com/news/007-takes-japanese-village-by-storm-1.20205

  by Al Ricketts • • August 10, 1966

  
  Sean Connery with actresses Mie Hama, left, and Akiko Wakabayashi at a press conference
  during the filming of the James Bond movie, ''You Only Live Twice,'' in July, 1966.
  (Hideyuki Mihashi/Stars and Stripes)

  The tiny fishing village of Akime, on the southernmost tip of Japan, will never be the same.
  
  James Bond and company have descended upon it via helicopters, buses and air-conditioned cars. They have a mobile snack bar (sandwiches, lime juice, tea and water) and a built-in-a-bus restroom on the set at all times.
  
  And when superstar Sean Connery, sans trench coat, tricky attache case and made up to look like a Japanese fisherman, strides unsmilingly toward the camera, he is besieged by a battalion of Japanese photographers.
  
  The film, loosely based on Ian Fleming's Japan-laid You Only Live Twice, is creating more controversy among the Japanese press than any flick ever filmed in the land of cherry blossoms and automatic bows.
  
  Although Tetsuro Tanba (as detective Tiger Tanaka), Mie Hama (as Kissy Suzuki) and Akiko Wakabayashi (filling a write-in role as a sort of female Bond counterpart) all have received their share of attention, it's the rugged Connery--the biggest boxoffice attraction in the world today--who has caused the most excitement.
  
  The Japanese press--en masse--has submitted formal complaints to publicity people and co-producer Albert "Cubby" Broccoli because they don't feel they are getting enough photographs or personal interviews with the star.
  
  Although the straw hat sales and the amount of beer peddled across the counter in Akime's only hotel have skyrocketed, the villagers are only mildly impressed.
  
  Fishing nets them several million yen a year and on weekends they always attract at least 300 fishermen and swimmers a day.
  
  But there's one thing they all have in common. Just say "007" to any Japanese in the vicinity and he's bound to break into a great big grin of acknowledgment.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  1981: Agent 007 – Strengt fortroligt (Agent 007 - Strictly Confidential) released in Denmark.

  "Agent 007 - strictly confidential" or "Agent 007: Strict Confidence"
  
  
  
  
  

  1982: Octopussy first unit filming begins at the Berlin Wall and Checkpoint Charlie. As watched closely by Stasi.

  

  How Communist spies tracked James
  Bond in real life: East Germany's
  feared Stasi were poised to arrest
  Roger Moore on set of Octopussy for
  crossing into East Berlin at Checkpoint
  Charlie, files reveal
  

  See the complete article here:
  

  https://www.dailymail.co.uk/news/article-9730769/How-Communist-spies-tracked-James-Bond-set-Octopussy-crossing-East-Berlin.html

  • East Germany's secret police were spying on Roger Moore on set of Octopussy
  • A Stasi report states that James Bond film crew 'violated' border of Berlin Wall
  • In scene filmed at Checkpoint Charlie, 007s car crossed the line while turning

  By Clare Mccarthy For Mailonline | Published: 27 June 2021
  
  East Germany's secret police, the Stasi, were poised to arrest Roger Moore on set of James Bond movie, Octopussy, uncovered files have revealed.
  
  The documents, published yesterday in German newspaper, Bild, revealed that the Stasi were closely tracking the movements of James Bond film crew while filming in Berlin on August 10, 1982.
  
  A Stasi report stated that the crew had 'violated' the border of the Berlin Wall by about '4 to 5 metres' while they shot a scene at Checkpoint Charlie, the most famous of the seven border crossings into East Berlin.

  
  East Germany's secret police, the Stasi, were poised to arrest Roger Moore
  (pictured at Checkpoint Charlie) while filming James Bond movie, Octopussy,
  in Berlin in 1982

  In the classic movie scene, Roger Moore, as 007, was ­chauffeured in a dark Mercedes 200 to Checkpoint Charlie to meet 'M', the head of British intelligence, played by Robert Brown.
  
  The same scene was reshot a number of times at the request of Octopussy director John Glen, with the Mercedes driving up to the East-West German border during each take before turning around.
  
  However, the crew did not realise that while turning, the car was crossing into East Germany.
  
  It is now known that the feared and brutal intelligence and secret police agency who ran the communist state of East Germany were tracking the car's every movement.
  
  The documents, published yesterday, revealed that the Stasi were closely tracking the movements of James Bond film crew while filming in Berlin and noted the incident in detail

  The Stasi officers' report said: 'When turning, the vehicle violated the state border four times by about 4 to 5 metres.

  'Report on filming of a 'James Bond' movie, in the western apron of the border crossing point Friedrich/Zimmerstrasse on August 10, 1982, between 7:30am and 1:33 pm.

  '12 vehicles appeared in the western apron of the border crossing point... most of them parked in the parking lot behind the house Zimmerstrasse 19 a.'

  The Stasi was the official secret police agency of the former East Germany which was established in 1950 and had up to 100,000 employees by 1989 but was disbanded when Germany reunified in 1990.
  
  One of the Stasi's main tasks was spying on the population, primarily through a vast network of citizens turned informants, who spied on and denounced colleagues, friends, neighbours, and even family members.

  
  
  
  
  
  
  

  
  1987: The Living Daylights released in Ljubljana, Yugoslavia.
  1989: Lizenz zum Töten released in West Germany.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  2003: The Washington Post proposes literary Bond can "Live or Let Die".

  

  Live or Let Die? A Midlife Crisis for the James Bond Novels

  See the complete article here:
  

  https://www.washingtonpost.com/archive/lifestyle/2003/08/10/live-or-let-die-a-midlife-crisis-for-the-james-bond-novels/5e266f5e-651e-4fc4-bd1a-2c820dbcb6e0/?utm_term=.a22c9e6b2b3a

  By Bob Bryant August 10, 2003
  
  -- For seven years, Raymond Benson was James Bond's boss. Benson planned the secret missions, scoped out the death traps, plumbed the dark hearts of 007's enemies from 1996 through 2002.
  
  Bond went where Benson willed, did as Benson wished, took lives or spared them as Benson saw fit. Such is the power of a James Bond novelist.
  
  Benson, who lives in the Chicago suburbs, was only the fourth man -- and the first American -- to write a series of Bond novels since Britain's Ian Fleming created the character. "It was terrifying and exciting, all at the same time," Benson, 47, says of his six original Bonds and three movie novelizations. "It was a roller coaster."
  
  But as Bond celebrates his 50th year in literature -- half a century since Fleming published "Casino Royale" in the spring of 1953 -- the 007 series is at a small crossroads.
  
  Benson has left the series to write his own novels, and no new Bond novelist has been named. After five decades and 35 original Bond books (not counting movie novelizations) that have sold nearly 100 million copies in all, where do the Bond books go from here?
  
  Whoever writes the Bond novels "is going to be in the hot seat," Benson said in a telephone interview. "Whoever is in this spot is going to be under a microscope."
  
  One reason for that is the passion of Bond fans, many of whom have built sharply opinionated Internet sites about 007. Another is the small number of people in the Bond Novelists Club.
  
  Fleming wrote 14 "Bonds" before he died in 1964 at age 56. There was a one-shot 1968 Bond novel by Kingsley Amis. It was more than a decade after that when Fleming's heirs authorized another British novelist, John Gardner, to write a new Bond series, and Gardner did 14 novels. Then came Benson and six more original Bonds.
  
  Benson said he had no idea who might be in line to be the next Bond novelist or in what direction the books might go. The novelists typically have set the books in the present day, whenever that might be -- the '60s through the '90s -- but Benson's wish is that the novels "stay in the Cold War. I'd like to see Bond frozen in time."
  
  It's unlikely the literary series can again explode as it did in the 1960s, when Fleming paperbacks, fueled by the Bond movies' success, sprouted bold covers on every drugstore rack. And no one should expect that, says Los Angeles writer-producer John Cork, co-author of "James Bond: The Legacy," a coffee-table book published last year.
  
  Fleming -- ex-reporter, ex-British Naval Intelligence officer, world traveler, unabashed womanizer -- started it all with a slim, grim novel called "Casino Royale."
  
  No spectacular action scenes here -- it's about one spy trying to bankrupt another at the gambling tables. Fleming wrote the book in about six weeks at his Jamaican retreat, Goldeneye, then casually offered "this miserable piece of work . . . this dreadful oafish opus" to a novelist friend with publishing connections. It sold.
  
  Fleming kept going back, year after year, to his main character, James Bond, 007, licensed to kill in the name of Her Majesty the Queen.
  
  Bond was Fleming's "dream self," a Fleming biographer said. Bond shared Fleming's tastes, smoked Fleming's cigarettes (70 a day for both agent and author).
  
  The Bond movies always kept Fleming's titles -- those titles were gold. But ever since Fleming's heirs resurrected the Bond novels in 1981, the books and the films have run on separate tracks. None of the 20 "modern" Bond novels by Benson or Gardner has been made into a film; all of Fleming's were.
  
  Partly because of that, none of the new novels has enjoyed a fraction of the fame Fleming's work has.
  
  Gardner's first Bond novel, restarting the series in 1981, updated the politics by abolishing the Double-O branch of the Secret Service -- the spies licensed to kill -- except for Bond, who stayed on as a global "troubleshooter."
  
  Gardner gave up the series in 1996.
  
  "His early novels were on the New York Times bestseller list," said Bryan Krofchok, who runs a Bond site on the Internet (www.bondian.com) and teaches computer science at Sacramento (Calif.) City College. "[But] the general public's interest in new Bond novels seems to have petered out midway through Gardner's series, at least here in the United States."
  
  Gardner, already an established novelist when he took the Bond job, remembers his time as "the most difficult years of my professional life."
  
  In an e-mail interview from his home in Hampshire, England, the author, now 76, said it was a struggle to find the right style while trying to satisfy the Fleming heirs and to quell the "strange hostility and mistrust" of Bond fans. "My consistent nightmare," Gardner said, "is that I shall be remembered only as the author who took James Bond through the '80s and into the '90s. Yet I am proud of my work on the Bonds and believe that the books did the job."
  
  Benson's Bond books, starting in 1997, brought a faster pace and a more fallible 007.
  
  "Sometimes I wonder why I bother," a beat-up Bond muses in "High Time to Kill" (1999). "In the old days, the enemy was clear cut. Communism was a worldwide threat. . . . Today it's different. I feel as if I've become a glorified policeman. There must be a better way to die."
  
  Benson, who got the Bond job after writing a book called "The James Bond Bedside Companion" in the 1980s, said he never pictured his 007 as one of the movie Bonds but instead as "a shadowy, non-specific guy."
  
  Benson said he would look at a map of the world and ask, "What locales would Britain have an interest in?" That might lead to a story. Then he would submit a detailed outline to Glidrose Publications, which holds the Bond copyrights: "I never had one rejected."
  
  Then Benson would travel to the locations on Bond's itinerary -- "Walk in Bond's footsteps." (Fleming did the same, laden with small notebooks.) Benson's travel phase might take one to four weeks. The actual writing might take four to five months, Benson said. Then editing by the publishers and the Fleming interests. Bond essentially was a full-time job, he said.
  
  And the reaction from readers? The hard-core Bond fans, the Internet fans, were the loudest voices Benson heard. "They either loved me or hated me," he said. "It was a challenge dealing with the fans. They're so opinionated."
  
  Bond fans such as Krofchok acknowledge that the series is serving "a niche market" of longtime 007 fans -- and at the same time facing competition from mainstream thrillers. "There are now many other authors writing 'Bondian'-style novels -- but without James Bond," Krofchok said. (Who is Tom Clancy's hero, Jack Ryan, but an American Bond?)
  
  The new Bond books also are competing with the very similar, but very different, new Bond movies, Cork noted. One solution, he said, could be along the lines of Benson's suggestion -- to permanently put the literary Bond in a Cold War setting.
  
  The books' future seems wide open. There's no announced heir to the Fleming throne -- Fleming's family has announced no successor to Benson. Representatives of Ian Fleming Publications couldn't be reached for comment. Cork said his impression was that in this 50th-anniversary year, they preferred to put the focus back on Fleming's novels, which are being reissued as trade paperbacks with 1950s-style pulp-art covers.
  
  Gardner, who has written more Bond books than any other living man, thinks the bell has tolled for the Bond novels. Don't "play games" with Cold War flashbacks, he said -- the new novels "should end now."
  
  And if the literary Bond heads into more happy decades of martinis, girls and guns? In that case, Gardner said, "I pray that they find a Brit who is a professional novelist with a track record."
  
  "The sad thing today," he said, "is that people talking of Bond usually talk of the films and not the books. And the films, alas, seem to have gone down the road to Dumbville."
  
  American Raymond Benson is the latest official James Bond novelist, but after six books with 007, he's giving up the job. Ian Fleming wrote his first Bond novel, "Casino Royale," in 1953. Kingsley Amis, under the pseudonym Robert Markham, took up the Bond series for one novel.

  2004: MI6 reports that Dark Horizons proposes longtime stuntman, stunt coordinator and second unit director Vic Armstrong is a candidate to direct BOND 21.

  

  Vic Armstrong
  rumoured as James
  Bond 21 director

  See the complete article here:
  

  https://www.mi6-hq.com/news/index.php?itemid=1592

  10-Aug-2004 • Casino Royale
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 9 Posts: 14,668

  2006: Daniel Craig comments to Entertainment Weekly on expectations for the Bond role.

  

  Daniel Craig says James Bond fans
  'don't think I'm right for the role'

  See the complete article here:
  

  https://www.9news.com/article/entertainment/daniel-craig-says-james-bond-fans-dont-think-im-right-for-the-role/73-344468547

  NEW YORK (AP) - Daniel Craig, the new James Bond, wants critics to give him a chance.
  Author: Jeffrey Wolf | Published: 8/10/2006
  
  "If I went onto the Internet and started looking at what some people were saying about me -- which, sadly, I have done -- it would drive me insane," the British actor says in an interview in Entertainment Weekly magazine, on newsstands Friday. "They hate me. They don't think I'm right for the role. It's as simple as that. They're passionate about it, which I understand, but I do wish they'd reserve judgment." A group of James Bond fans have launched a Web site, www.craignotbond.com, to protest Craig replacing Pierce Brosnan in the 007 film franchise, and to boycott "Casino Royale," slated for release Nov. 17. The fair-haired Craig, whose screen credits include roles in "Munich" and "Layer Cake," was tapped last October to play the secret-agent icon. While filming "Casino Royale," the 38-year-old actor was uneasy about uttering those famous words, "The name is Bond, James Bond."

  "People kept asking, `Have you done the line yet?"' Craig tells the magazine. "But honestly, I didn't rehearse it at all. I didn't practice it in the mirror every morning or anything like that. I didn't want to even think about saying it because I didn't want it to be this weight around my neck. I just wanted to get on with it and not blow it." Craig decided to take Bond in a new direction. "I watched every single Bond movie three or four times, taking in everything I could about how the character had been portrayed in the past; then threw all that away once I started doing the role," Craig says. "There's no point in making this movie unless it's different. It'd be a waste of time unless we took Bond to a place he'd never been before."

  

  
  2012: Five new posters advertise Skyfall.

  
  
  
  
  

  
  2020: A cable suspending the Arecibo space telescope in Puerto Rico breaks. (Another follows November this year.)

  

  Arecibo space telescope where James Bond film
  GoldenEye and Jodie Foster movie Contact filmed
  to close down over collapse fears

  • The Arecibo telescope in Puerto Rico is one of the largest in the world
  • Two cables supporting the 900-tonne structure are broken

  See the complete article here:
  

  https://www.scmp.com/news/world/article/3110623/brink-collapse-famed-arecibo-space-telescope-close-down

  Published: 10:17am, 20 Nov, 2020

  
  Engineers are concerned other cables could also break at any time,
  making any attempt at repair excessively dangerous. Photo: Reuters

  The US National Science Foundation on Thursday announced it will close down the massive space telescope at Puerto Rico’s Arecibo Observatory, ending 57 years of astronomical discoveries after suffering two destructive mishaps in recent months.

  Operations at the observatory, one of the largest in the world, were halted in August when one of its supportive cables slipped loose from its socket, falling and gashing a 30-metre hole in its 305-metre-wide reflector dish.
  
  Another cable then broke earlier this month, tearing a new hole in the dish and damaging nearby cables as engineers scrambled to devise a plan to preserve the crippled structure.
  
  “NSF has concluded that this recent damage to the 305-metre telescope cannot be addressed without risking the lives and safety of work crews and staff,” Sean Jones, assistant director of the Mathematical and Physical Sciences Directorate at NSF, said on Thursday.
  
  “NSF has decided to begin the process of planning for a controlled decommissioning of the 305-meter telescope,” Jones said.
  
  Engineers have not yet determined the cause of the initial cable’s failure, a NSF spokesperson said.
  
  The telescope was built in the 1960s with money from the Defence Department amid a push to develop anti-ballistic missile defences. Over decades, it endured hurricanes, endless humidity and a recent string of strong earthquakes.

  
  Two cables broke on August 10 and November 6. Photo: AFP

  The observatory’s vast reflector dish and a 900-tonne structure hanging 137 metres above it, nestled in the humid forests of Arecibo, Puerto Rico, has featured in the Jodie Foster film Contact and the James Bond movie GoldenEye.
  
  It had been used by scientists and astronomers around the world for decades to analyse distant planets, find potentially hazardous asteroids and hunt for signatures of extraterrestrial life.
  
  The telescope was instrumental in detecting the near-Earth asteroid Bennu in 1999, which laid the groundwork for Nasa to send a robotic probe there to collect and eventually return its first asteroid dirt sample some two decades later.
  
  An engineering firm hired by the University of Central Florida, which manages the observatory for NSF under a five-year US$20 million agreement, concluded in a report to the university last week “that if an additional main cable fails, a catastrophic collapse of the entire structure will soon follow.”
  
  Citing safety concerns, the firm ruled out efforts to repair the observatory and recommended a controlled demolition.

  
  A large gash to the radio telescope's reflector dish. Photo: AP

  The announcement saddened many beyond the scientific world as well, with the hashtag #WhatAreciboMeansToMe popping up on Twitter along with pictures of people working, visiting and even getting married or celebrating a birthday at the telescope.
  
  Alex Wolszczan, a Polish-born astronomer and professor at Pennsylvania State University who helped discover the first extrasolar and pulsar planets, said that while the news wasn’t surprising, it was disappointing. He worked at the telescope in the 1980s and early 1990s.

  “I was hoping against hope that they would come up with some kind of solution to keep it open,” he said. “For a person who has had a lot of his scientific life associated with that telescope, this is a rather interesting and sadly emotional moment.”

  Additional reporting by Associated Press
  

  

  2020: Halle Berry is photographed in an orange bikini and separately recalls the Heimlich maneuver.

  

  Halle Berry sizzles in beach bikini
  photo, gives off James Bond vibes
  Berry famously played Bond girl Jinx Johnson in 'Die Another Day'

  See the complete article here:
  

  https://www.foxnews.com/entertainment/halle-berry-sizzles-beach-bikini-photo-james-bond

  By Julius Young | Fox News
  
  Halle Berry never wastes a moment to shine for social media.
  
  The former Bond girl -- who famously played Jinx Johnson, James Bond’s American muse in the 2002 film installment “Die Another Day" -- channeled her innermost spy when she donned a similar swimsuit to the one she wore in the iconic film.
  
  “Never been a shady beach. 😂,” the 53-year old actress captioned an Instagram photo on Sunday in which she matches Jinx’s orange bikini – the only articles missing are the knife and the white accent belt it hangs from. She also tagged the clothing brand, boohoo.

  The memorable scene from the film showed Jinx, also a spy, as she emerges from the waters in Cuba where she discovers Bond, played by Pierce Brosnan, sipping a mojito.
  
  The mother of two's svelte physique in her latest beach flex is hardly distinguished from the fit stature showcased in 2002. Berry even added a little extra sizzle in her Instagram picture while letting her luscious locks flow underneath a beige straw sunhat from Hat Attack pulled lower over her eyes for dramatic effect.

  
  Halle Berry in 'Die Another Day.' (Eon Productions, MGM, 20th Century Fox)

  The Oscar-winner also places her hand on her hat, likely to keep it from flying off her head.
  
  In April, the “Monster’s Ball” standout revealed that Brosnan, 67, had actually saved her life while the two were filming “Die Another Day” when Berry began choking.

  
  Pierce Brosnan and Halle Berry. (Photo by Jon Kopaloff/FilmMagic)

  “I was supposed to be all sexy, trying to seduce him with a fig,” Berry quipped to late-night host Jimmy Fallon of her Bond girl character. “I end up choking on it and he had to get up and do the Heimlich.”

  "That was so not sexy,” added Berry. “James Bond knows how to Heimlich! He was there for me, he will always be one of my favorite people in the whole world.”

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 10 Posts: 14,668

  August 11th
  
  1948: Harold Sakata wins the silver medal in the light-heavyweight division of the weightlifting competition at the Summer Olympic Games, London, England.

  
  1948 Summer Olympic awards for light-heavyweight weightlifting competition:
  Harold Sakata of the USA (silver), Stanley Stanczyk of the USA (gold) and Gosta Magnusson of Sweden (bronze).
  
  
  
  

  
  1959: Ian Fleming's letter to Ivar Bryce on seeking a screenwriter also declares...
  "Richard Burton would be by far the best James Bond!"

  

  The Battle for Bond, Robert Sellers, 2007.
  Chapter 6 - Looking for a Writer

  So McClory took it upon himself to hire a screenwriter, satisfied that
  Fleming, while an established and experienced novelist, would be quite unable
  to produce a satisfactory film script. The man he chose was Paul Dehn whose
  first screenplay, Seven Days to Noon, back in 1950, had earned him an Oscar.
  At first Dehn was interested and met with Fleming, but that enthusiasm
  ultimately dissipated and he turned the assignment down, much to Fleming's
  disappointment as he expressed in a letter to Bryce dated 11 August: "Alas,
  Dehn can't take the job on for two excellent reasons. Firstly, he wrote a film
  script called something like "Seven Hours to Midnight' (Fleming almost got it
  right), in which London was held up by an atomic bomb. And, secondly, he
  says that he is really only interested in the development of character in
  murderers, etc, and this bang, bang, kiss, kiss stuff is not for him. On the other
  hand, he greatly like the treatment and thinks it will be a terrific success." Just
  five years later Dehn, with Richard Maibaum, would write arguably the greatest
  Bond script of all - Goldfinger.

  Chapter 11 - The Search for James Bond

  Earlier, during Fleming's meetings with Paul Dehn, the subject of who to
  cast as Bond had arisen. In his letter of 11 August to Bryce, Fleming
  announce, "Both Dehn and I think that Richard Burton would be by far the
  best James Bond!" It's a fascinating suggestion, and possibly the first
  recorded statement by Fleming about who should play his hero. Years later
  Fleming would champion David Niven as Bond, a very traditional English
  actor and a million miles away from the wild Celtic image and brooding
  manner of Burton. But what a Bond pre-Celopatra/pre-Elizabeth Taylor
  Burton would have been!
  
  Interestingly at this time the makers of the proposed American TV
  version of From Russia With Love had already cast James Mason as Bond.
  "So if the worst comes to the worst, we might have to settle for him,"
  Fleming wrote Bruce, sounding not entirely won over by the idea. But he
  must have later warned to it as Christopher Lee, who was Fleming's cousin,
  informed this author that Fleming told him that Mason was his preferred
  choice as Bond.

  
  

  
  1964: After dining with friends at a hotel in Canterbury, Ian Fleming suffers a heart attack.

  

  A gentleman’s game: Like his Bond
  character, writer Ian Fleming had a love
  affair with golf

  See the complete article here:
  

  https://golf.com/news/features/james-bond-writer-ian-fleming-love-affair-golf/

  By: Chris Nashawaty | June 3, 2020

  Ian Fleming at his home office.
  
  The author of the Bond novels had a love for the links as well, and golf played a major role in some of his books.

  The James Bond franchise’s newest addition, No Time To Die, was scheduled for release in April but was pushed to November due to the coronavirus pandemic.
  
  Fleming never came out and said that he was the model for James Bond, but he never exactly denied it either. The British author, who first introduced the dangerously debonair secret agent in his 1953 novel Casino Royale, had worked in naval intelligence during World War II. And while he’d mostly been stationed behind a desk, in his off-hours he played cards, drank and swapped stories with the real-life cloak-and-dagger spies who would provide the globe-trotting exploits of his best-selling 007 novels.
  
  Like his fictional, licensed-to-kill creation, Fleming had a hedonist’s sweet tooth for fast cars and even faster women. But they also shared another passion — golf. Both Fleming and his alter ego had dog-eared copies of Tommy Armour’s How to Play Your Best Golf All the Time and Ben Hogan’s The Modern Fundamentals of Golf on his bookshelf. The two characters also shared a flat swing, a weak grip and a nine handicap — traits that are laid out in Fleming’s 1959 novel Goldfinger, which five years later would be turned into the third and best of all the Bond films thanks to its climactic golf match with the bullion-hoarding gold magnate (and flagrant golf cheat), Auric Goldfinger.

  
  In 1964’s Goldfinger, Bond memorably one-upped the baddie.
  Entertainment Pictures/Zuma Press

  When it came to the sport, Fleming certainly knew what he was writing about. His first brush with the game came while attending prep school in Dorset. And shortly after his father — a well-to-do member of Parliament — died on the Western Front in World War I, he would spend his weekend afternoons with his grandmother at Huntercombe Golf Club, not far from Henley-on-Thames, where they would drive in her Rolls-Royce to play 18. She was a low handicapper with the decidedly eccentric habit of tipping her caddies with toothbrushes instead of cash.
  
  In the years following World War II, Fleming would regularly play the courses at Gleneagles and Cooden in Sussex. But in 1948, while still in his pre-Bond bachelor years, when he was working as a journalist at the London Times, Fleming became a member at Royal St. George’s, in Sandwich, Kent. After dictating the last of his newspaper columns for the week, he’d hop in his black Ford Thunderbird convertible with a set of American clubs in the backseat and drive to his weekend house in Sandwich, which was once owned by his close friend, playwright Noel Coward. But Fleming’s interest in golf was hardly for relaxation.
  
  Although his swing off the tee wasn’t easy on the eyes, what Fleming lacked in grace and form he made up for in enthusiasm. Like one of his most famous fans, John F. Kennedy — another golfer playboy who often had a 007 novel on his White House nightstand and who would name From Russia With Love one of his 10 favorite novels — Fleming enjoyed the clubby male companionship of the game, often wagering 50 pounds per match. Said Albert Whiting, then the head pro at St. George’s, “He was a great one to gamble on his games. He used to squeeze the last stroke out of his handicap. He made matches tough — the game would be deadly serious after the handicaps and bets had been fixed. He hated to lose. Everybody had to play like hell.”

  
  On August 11, 1964, [Fleming] had his last lunch at his beloved Royal St. George’s,
  where he’d by then become the club’s captain-elect.

  Established in 1887, the 7,204-yard sweep of wild duneland at Royal St. George’s was once named “the greatest seaside golf course in the world” by the Financial Times. The private club has hosted the Open Championship 14 times — most recently in 2011. And it’s there that Fleming set one of the greatest fictional golf matches of all time.
  
  In the 1964 film, Sean Connery’s Bond (driving a gadget-festooned Aston Martin DB5 instead of a black Thunderbird) squares off with Gert Frobe’s nefarious Goldfinger at a golf club called “St. Mark’s.” Although filmed at Stoke Park, just a stone’s throw from the 007 set at Pinewood Studios, the course in the movie is, for all intents and purposes, a thinly veiled version of Royal St. George’s. The club pro in the film is named Albert Blacking (instead of Albert Whiting, the St. George’s pro). And Bond’s caddie, his wily coconspirator against Goldfinger’s cheating, is named Hawker after the club’s most sought-after bag carrier at the time, Alf Hawkes.
  
  Fleming was a strict believer in golf’s gentleman’s code and the rules of the game. Which is what makes Goldfinger’s under-handed tendency to improve an awful lie or substitute a lost ball with the assistance of his hulking, bowler-hatted man servant Oddjob all the more galling to Bond. It was an outward symbol of his immoral villainy. The wager may be a bar of Nazi gold valued at 5,000 pounds, but for 007 there is more at stake in his match with Goldfinger than just money. It’s about honor — a battle between right and wrong, the values of the West triumphing over the corruption of SMERSH and the wickedness that lay on the other side of the Iron Curtain. Outwitting Goldfinger by switching his Slazenger 1 with a Slazenger 7 (Bond plays a Penfold Hearts) is the ultimate Cold War comeuppance.
  
  In the film version of Goldfinger, the entire golf sequence is over and done with in a brisk nine minutes of screen time. But in Fleming’s novel, the match stretches out for 37 white- knuckle-tense pages, which also happens to be some of the best hole-by-hole golf writing ever to come pouring out of a typewriter — the “brassie lies,” the “spoon,” the “blaster” and “old hickory Calamity Jane” in Bond’s bag.
  
  And also some of the most colorful…

  
  On the set of Goldfinger, Fleming and producer Harry Saltzman had a swinging time with Connery.

  Goldfinger had made an attempt to look smart at golf and that is the only way of dressing that is incongruous on a links. Everything matched in a blaze of rust-coloured tweed from the buttoned “golfer’s cap” centred on the huge, flaming red hair to the brilliantly polished, almost orange shoes. The plus-four suit was too well cut and the plus-fours themselves had been pressed down the sides. The stockings were of a matching heather mixture and had green garter tabs. It was as if Goldfinger had gone to his tailor and said, “Dress me for golf — you know, like they wear in Scotland.”

  To readers who actually knew and had played Royal St. George’s, the book’s level of detail would have been strikingly familiar. The layout of each hole syncs up seamlessly with the layout of Fleming’s home course, something that would later become apparent to Connery when he finally played St. George’s years after the film was released.
  
  Although Connery certainly looked the part of a respectable golfer in the film — the jaunty, straw porkpie hat, the natty V-neck sweater and the smooth, fluid backswing — he was anything but at the time that Goldfinger was shot. Although he’d grown up in Scotland, the son of a factory worker was not a golfer. That would come later. Connery had been given lessons before the cameras rolled. “I never had a hankering to play golf,” he later said. “It wasn’t until I was taught enough golf to look as though I could outwit the accomplished Gert Frobe in Goldfinger that I got the bug.”
  
  Fleming’s love affair with the game would continue until his premature death. Like the 007 of the novels, he smoked up to 80 custom-made Morland cigarettes a day. And a golf course is where he first felt the icy threat of an adversary more lethal than any of the iconic villains that 007 ever faced. During a golf getaway with his old Eton schoolmates at Rye, Fleming was taken ill with heart palpitations. Soon after, on August 11, 1964, he had his last lunch at his beloved Royal St. George’s, where he’d by then become the club’s captain-elect. In the early hours of the morning after, Fleming said goodbye — to Bond and to the game both of them adored.

  http://jamesbondmemes.blogspot.com/2017/09/improve-your-golf-with-ian-fleming.html

  

  
  1976: The Hollywood Reporter reports the withdrawal of McClory's injunction against The Spy Who Loved Me.
  1978: Principal photography kicks off for Moonraker at Château Vaux-Le-Vicomte in France.

  https://twitter.com/007/status/1028310070918959105

  
  1986: People magazine showcases Pierce Brosnan as "The Spy Who's Loved Too Much".

  

  The Spy Who's Loved Too Much

  See the complete article here:
  

  https://people.com/archive/cover-story-the-spy-whos-loved-too-much-vol-26-no-6/

  Laura Sanderson Healy and Mary Ann Norbom - August 11, 1986 12:00 PM

  “It was,” says Pierce Brosnan, “too much like a job.” Admittedly a good job, with more than good pay. In a series that made an obscure Irish actor into an American TV star. With a role that painted him debonair and slightly devilish. And an image that made him the perfect, obvious, only choice to become the next Bond, James Bond. Although Brosnan had prospered as the roguish title character on NBC’s detective series Remington Steele, “I had just had enough,” he says. In fact, “I’d had enough after two years, but I’d signed a seven-year contract.” Brosnan was relieved—”really relieved”—when Remington Steele was cancelled last May.

  But wait. Put the emphasis on the past tense: was cancelled, was relieved. For just when it seemed that Brosnan, 35, had snagged one of the most sought-after and profitable roles in movie history, he now finds himself once again tied to Remington Steele, and he is not pleased.

  For most of the last two months, Brosnan thought he had fulfilled an ambition of long standing, to replace Roger Moore as 007. He had settled in London. Thinking he had closed a chapter of his career, he had taken to occasionally trashing Remington Steele and the high life in L.A. He had all but signed for The Living Daylights, the $40 million Bond film originally scheduled to begin shooting this month. Then, ironically, the prospect of Brosnan as Bond revived NBC’s interest in its show. The network saw a promotional windfall in beaming the man who would be Bond into America’s living rooms—particularly so after more than 1000 furious fans phoned and wrote NBC protesting the cancellation. This summer, Remington has greatly improved its ratings during reruns. In the halls of NBC, programming chief Brandon Tartikoff joked about his booboo, “Anybody can cancel a show in 59th place. It takes real guts to cancel one in ninth place.” Consequently, just last month, three days before options on the Remington cast expired, NBC made it official: The show was renewed for six episodes as a midseason replacement.
  
  Since then, the legendary producer and protector of the James Bond film properties, Cubby Broccoli, has been making like Dr. No. Although he had been negotiating a three-picture deal with Brosnan, Broccoli didn’t want his 007 tainted by television. “He’s not going to have another company riding on our publicity,” says a Broccoli aide. To accommodate the movie’s schedule, MTM, the production company responsible for Steele, even suggested shooting the season’s first episode in Europe. “Obviously it would be to our benefit to have Pierce playing Bond, and we’re not giving up on the idea,” says Steele executive producer Michael Gleason. “Anything we can do, we are more than willing to do.” But Broccoli has remained decidedly cool to stopgap measures. The net result for Brosnan is a career catch-22: Because Remington was cancelled, Brosnan could do Bond. But because he might be Bond, Remington was uncancelled. And because Remington was uncancelled, Brosnan may not be able to be 007. The choice for Brosnan seems clear: Bond or bondage.
  
  The network’s decision has started a worldwide scramble for another Bond, while shooting on The Living Daylights has been postponed to late September. The producers talked to 60 aspirants in one recent week alone. Earlier Mel Gibson and Bryan Brown were considered but not screen-tested. Australian model Finlay Light was tested and so was Sam (Kane & Abel) Neill, who was a front runner at last check. But the players change constantly. After Broccoli saw The Taming of the Shrew in London, new rumors surfaced last week that actor Timothy Dalton was the first choice. If you are a handsome, breathing male with a British accent, you are a candidate.

  Brosnan has not talked publicly about his dilemma since Remington’s revival created it. But he was positively voluble when last interviewed in London, basking in the afterglow of what he considered a pro forma screen test for Bond—and in the midst of filming a kind of warm-up for the part, Frederick Forsyth’s thriller The Fourth Protocol, in which Brosnan plays a KGB bad guy. Had Steele been renewed, he said, “I would have risen to the occasion, but I would have gone back to work reluctantly, just gritting my teeth…. Under the circumstances [of the Bond offer], if it had gone a fifth [season], I would have been pissed off…. No risks were being taken. I wanted the show to get a little more hard-edged, but they wanted to keep it like it was.” He was particularly distressed by Moonlighting, which bears more than a passing resemblance to Remington. In fact that show was created by Glenn Gordon Caron, a former Remington writer. “Moonlighting [is] a direct steal which has just done it in a different, much fresher way,” Brosnan said. “At least they take risks.” Co-star Stephanie Zimbalist apparently agrees. “Now those people are doing at Moonlighting exactly what we’re supposed to be doing at Remington Steele.”
  
  Brosnan’s trouble on Remington apparently involved more than creative differences: Almost from the start, stories of discord between Brosnan and Zimbalist were common. Although the series was conceived primarily as a vehicle for her, he got more mail and publicity. To create the character, Brosnan said, “I’d look at old Cary Grant movies, steal a little bit from him and mix in my own personality. In some respects, it was a cross between John Cleese, Cary Grant and James Bond.” Zimbalist was clearly dissatisfied with the show’s shifting focus. “I have to do something,” she told one interviewer in 1983, “or when this show goes off the air, all anybody is going to remember is that Pierce Brosnan starred in it.” If her relations with Brosnan were occasionally frosty, they were positively frigid with his wife, actress Cassandra Harris, who reportedly saw Steele as a stepping-stone to superstardom for her husband.
  
  In a show that relies on character chemistry, there was little combustion. As Brosnan put it, they “were never progressing in the relationship…. There was all this kind of cat and mouse, old movie rubbish…. The people who were behind it were never courageous enough to say, ‘Well, let’s just throw it up in the air, what we can do next, how we can keep it alive.’ ” On that he and Zimbalist were agreed, and the producers’ notable idea for invigorating the show—having them get married—infuriated both of them. During production earlier this year, Zimbalist said: “If they decide to marry Remington and Laura, they can find themselves someone else to play Laura. That is not the character I signed to play.” And, of course, in the season’s last episode, Laura and Steele were married. Brosnan recalls, “There was a lot of tension about that.” Exec producer Gleason observes: “Pierce and Stephanie are both quite vocal when it comes to their characters.” Although weddings are usually Nielsen bonanzas, the union did nothing for Remington ratings.
  
  For Brosnan, television was no longer the most becoming medium. “You learn bad habits as an actor [on TV]. As the season goes on, you take short cuts, fatigue sets in. Then your confidence goes.” With it goes some measure of esteem. “The word ‘star’ doesn’t mean an awful lot to me. ‘Good actor’ and having the respect of one’s peers means more. You don’t really get much of that doing a show like Remington Steele.”
  
  By the end of last season, Brosnan wanted to leave Los Angeles as well as the show. Despite the comforts of a home in the hills, “I was becoming so Hollywood. All it became was money—get as much as you possibly can. I just find that you can become a very boring person living in L.A. I tell you, living there on a day-to-day basis is vacuous, terribly fake.” So he particularly liked the prospect of shooting back-to-back features in London: “It’s extremely civilized working here.”

  Brosnan has long considered playing Bond a career goal, but only recently has he pursued that prospect with passion. In fact, when he was first mentioned as a candidate he was reticent. “I said, ‘Why do I want to do it? It’s become an institution.’ ” But the idea kept coming back. Roger Moore told a newspaper that Pierce was his hand-picked successor. The mushrooming attention made Brosnan reconsider. So, no doubt, did the lack of attention given Brosnan’s feature Nomads, a quick fizzle released last March. Finally, he said, “I thought, if I don’t do Bond and some other guy gets it and I’ve been such a strong contender, I’m going to be really pissed off.”
  
  Brosnan had begun to feel almost as if fate had assigned him the role. Bond, he said, was “part of my upbringing.” Among the first films he saw when he moved from Ireland to England in the early ’60s were Bond flicks. “For an Irish boy, age of 11, really green, very naive, sheltered Catholic upbringing, it was just mindblowing.” Some 20 years later, he would meet the maker of those movies face-to-face. It was 1981, and Brosnan’s miniseries, The Manions of America, was set to premiere in America. He and wife Cassie had had to borrow $3,500 to pay for their trip to L.A., but soon he was cast as Remington Steele (after Anthony Andrews turned down the role). Cassie, it so happened, was playing one of Bond’s girls in the 1981 flick For Your Eyes Only—and they were invited to dinner at Broccoli’s estate. “I remember turning to Cassie that night in this old Rent-a-Wreck car, and I was joking the whole way home saying, ‘My name’s Bond, James Bond.’ I said, ‘This is it, darling, there’s no looking back now’—little knowing that five years on, one would be stepping into the role. There are a lot of funny things that happen in one’s life.”

  So there are. A few weeks ago, Brosnan returned to L.A., and there, barring strikes or other acts of a merciful God, he will begin shooting Remington Steele next October.

  

  1989: Licença Para Matar released in Portugal.

  
  

  
  1999: A federal appeals court for MGM Inc. v. 007 Safety Products Inc. finds the manufacturer of a pepper spray violated use of the “007” trademark.

  2021: Made in China.

  
  
  
  

  
  2010: 24/7 reviews a book proposing writer Roald Dahl was a real-life James Bond.

  

  Roald Dahl was real-life James Bond: Book

  See the complete article here:
  

  https://www.emirates247.com/roald-dahl-was-real-life-james-bond-book-2010-08-11-1.277710

  Children's author Dahl was a dashing, bed-hopping spy, according to a new book (FILE)
  By Staff - Published Wednesday, August 11, 2010
  
  He may be best-known as the author of chaste children's books, but Roald Dahl was a secret service agent with a "whole stable" of women and a license to kill, in the manner of fictional spy James Bond, according to an explosive new book.
  
  The British author slept with countless high society women while gathering intelligence in the US in the 1940s, says Donald Sturcock in his new book "Storyteller: The Life of Roald Dahl".
  
  Dahl's life as a young, handsome and dashing RAF officer in the early 1940s is recreated in the book through interviews with many associates and lovers, reported the UK's The Telegraph newspaper.
  
  Antoinette Haskell, a wealthy friend of Dahl's who looked up to him as a brother even thought he was "drop dead gorgeous", said the Charlie And The Chocolate Factory author was a relentless womaniser. "He was very arrogant with his women, but he got away with it. The uniform didn't hurt one bit and he was an ace pilot. I think he slept with everybody on the east and west coasts that had more than USD 50,000 a year," Haskell is quoted as saying in the book.
  
  Dahl had fought as a fighter pilot earlier in the war, until injuries grounded him. He then worked for a secret service network based in the United States called British Security Coordination (BSC).
  
  It was during this time that he worked with such other well known agents as Ian Fleming, the creator of James Bond and David Ogilvy.
  
  It is not known exactly how Dahl was recruited as a British agent, but it is thought he was working loosely for BSC by the first four months of 1944 when, officially, he had a public relations role at the British Embassy in Washington DC.
  
  Yet Dahl's secretive role too ended soon as it went against the grain because he was a terrible gossip who frequently betrayed confidence, according to his family and friends.
  
  Dahl, who died in 1990 aged 74, remains one of the world's bestselling fiction authors, with sales estimated at 100 million and counting.

  
  
  https://x.com/007/status/1040230837474742275
  
  
  

  
  2020: Funko Pop! releases figures of Bond, Safin, Nomi, and Paloma.

  Arrow Right
  

  2020: The GoldenEye 25 project redirects to non-007 content.

  

  After years of development, the
  GoldenEye 25 fan remake just
  got lawyered
  No time to die.

  See the complete article here:
  

  https://www.eurogamer.net/articles/2020-08-11-after-years-of-development-the-goldeneye-25-fan-remake-just-got-lawyered

  News by Tom Phillips, News Editor | 11 August 2020
  
  Back in 2018, we reported on one fan's ambitious project to remake the entire N64 GoldenEye 007 campaign in Unreal Engine 4. The aim was to release a polished version of the ancient single-player mode in time for the game's 25th anniversary in 2022.
  
  It seemed like a lot of work but, a year later, GoldenEye 25 creator Ben Colcough seemed to be making good progress. Now, two years in, the project should have been halfway to the finish line.
  
  Step up 2020. Last night, the game's Twitter account posted to say it had been "kindly asked by the IP holder (MGM/Danjaq) to cease development of GoldenEye 25.
  
  "This was always in the back of our heads as a possibility but we've tried our best to keep going. Of course we will comply and want to thank you for your ongoing support.
  
  "We cannot do a Bond game but we can still do a great game with all the beloved aspects of our favourite 90's action shooter. If you are still interested in following us, please come over to @projectianus where we will share development of our new game.
  
  "This account will be deleted by Friday at the latest."
  
  So, GoldenEye 25 is dead, but the project lives on. Writing on the new Project Ianus account, Colcough confirmed development will continue on this "original game" without using the names or likenesses of James Bond characters.
  
  On the upside, stripping the game of its Bond references means the project can now release on Steam, as well as potentially on consoles.
  
  We'll keep a golden eye on any future updates - and while it lasts, here's a look at the project in action from a year ago:
  
  

  https://twitter.com/spies_game/status/1293024792866689025

  
  
  Tom Phillips | News Editor | tomphillipsEG
  Tom is Eurogamer's news editor. He writes lots of news, some of the puns and makes sure we put the accent on Pokémon.

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 11 Posts: 14,668

  August 12th
  
  1959: Fleming expresses doubts for McClory in a letter to Bryce.

  

  The Battle for Bond, Robert Sellers, 2007.
  Chapter 6 - Looking for a Writer

  It seemed like the question of McClory's shortcomings stayed with Fleming
  as the following day he had lunch with Laurence Evans and asked his opinion on
  the matter. Evans didn't mince his words. Of course he thought McClory had
  talent and potential, but his first stab at movies with The Boy and the Bridge had
  not really come off, if the first batch of negative reviews were to be believed.
  Fleming wrote to Bryce on 12 August about Evans' misgivings: "What he is
  alarmed about is that, while we may all want big stars to feature in the Bond film,
  he thinks it very possible that people of the calibre we have been discussing may
  not wish to be produced and directed by a young man with only one film to his
  name and a film that has not found favour with the critics. He advises more or
  less on the lines of what I suggested my last letter - that Kevin should be
  number 2 to a bigger man; say [Anthony] Asquith or Hitchcock for instance."
  
  McClory later believed this letter showed, "the first seeds of distrust being
  planted in Bryce's mind by Fleming suggesting that I might not necessarily
  have the experience and should take second place to someone else." This was
  in direct contradiction to a Fleming letter of just four months previous when
  he'd told McClory, "There is no one who I would prefer to produce James
  Bond for the screen."

  
  

  1964: Ian Lancaster Fleming dies at age 56--Canterbury, Kent, England.
  (Born 28 May 1908--Mayfair, London, England.)

  

  Ian Fleming Dead; Created James Bond

  See the complete article here:
  
  https://www.nytimes.com/1964/08/13/archives/ian-fleming-dead-created-james-bond.html[/center]

  AUG. 13, 1964

  LONDON, Aug. 12 — Ian Fleming, the creator of James Bond, Agent 007 of the British Secret Service, died early today in a hospital at Canterbury after suffering a heart attack. He was 56 years old.
  
  Mr. Fleming was stricken last night at his hotel in Sandwich, where he was spending a golfing vacation with his wife, Anne Geraldine Fleming, and their son, Caspar, who became 12 years old today.
  
  The novelist suffered a coronary thrombosis three years ago. It forced him to curtail his activities and reduce his daily quota of gold‐tipped cigarettes, which Bond also smoked incessantly, from 60 to 20.
  
  In little more than a decade James Bond became the world's best known secret agent.
  
  Countless readers avidly followed his undercover war against .Soviet master spies and terrorists and later against a mysterious international crime syndicate.
  
  Mr. Fleming equipped his hero with an impeccable social background, good looks, bravery, toughness and a disillusional sort of patriotism.
  
  More important, the double‐O identification number, carried by only three men in the British Secret Service, authorized him to kill in the line of duty. It was a privilege Bond exercised frequently and sometimes reluctantly, most often with a .25‐caliber Beretta automatic that he carried in a chamois shoulder holster.
  
  President Kennedy and Allen Dulles, while he was the head of the Central Intelligence Agency, said that they enjoyed Mr. Fleming's books. In fact, it was probably the President's praise in 1961 that was largely responsible for their enormous popularity here. In Britain, Prince Philip led the cheering section.
  
  Mr. Fleming wrote 12 books, all but two about Bond, and was working on the 13th when he died. All told, they sold more than 18 million copies, mostly in paperback editions, and were translated into 10 languages.
  
  Two highly profitable films. “Doctor No” and “From Russia With Love,” were made from his novels, a third, “Goldfinger,” was recently completed and is awaiting release and others are planned.
  
  Mr. Fleming had made $2.8 million from his books, according to his agent, Peter Janson Smith. In March, in a complex transaction for tax purposes, he sold a 51 per cent interest in his future income to a British holding company for $280,000.
  
  Critics differed on the merits of his works. Some said he was an aristocratic Mickey Spillane, pandering to the public's taste for sadism and sex. A critic in London's New Statesman called “Doctor No,” which tells of how Bond destroys a missile‐sabotage center in the Caribbean, “the nastiest book” he had ever read.
  
  “There are three basic ingredients in ‘Doctor No,‘” he said, “all unhealthy, all thoroughly English: the sadism of a schoolboy bully, the mechanical, two‐dimensional sex‐longings of a frustrated adolescent, and the crude snob‐cravings of a suburban adult.
  
  “Mr. Fleming has no literary skill. But the three ingredients are manufactured and blended with deliberate, professional precision.”
  
  On the other hand, the contemporary novelist Kingsley Amis, in a 40,000‐word study, described Bond as tender rather than sadistic, classless rather than snobbish and a moderate Tory rather than a Fascist.
  
  On the whole, American critics did not take Mr. Fleming quite so seriously, regarding his books as thrillers that had tended to become less thrilling in recent years.
  
  Mr. Fleming said he thought of them as entertainment of no special significance. He attributed their popularity to a hunger for larger‐than‐life heroes that was left unsatisfied by most contemporary fiction.
  
  At the same time Bond's adventures slaked a public thirst for information about espionage that had been whetted by such events as the trial of Dr. Klaus Fuchs, the Burgess‐McLean case, the U‐2 incident and the growing awareness of the work of the C.I.A.
  
  The first of the novels, “Casino Royale,” published in London without fanfare in 1953, described Bond's destruction of Le Chiffre, the head of the French branch of Smersh, the Soviet espionage and terror ring, Bond's nearly fatal torture and his discovery that the woman he had fallen in love with was a Soviet agent.
  
  Mr. Fleming later said he wrote the book because he needed to keep his mind off his impending marriage, marking the end of his bachelor days.
  
  “Writing about 2,000 words in three hours every morning, he said, “‘Casino Royale’ dutifully produced itself. I wrote nothing and made no corrections until the book was finished. If I had looked back at what I had written the day before I might have despaired.”
  
  Other novels followed rapidly. In “Goldfinger” Bond foils a plot to rob Fort Knox; in “Moonraker” he prevents the firing of a missile into the heart of London; in “Live and Let Die” he destroys Smersh's chief agent in the United States, a Negro dabbler in voodoo and racketeering known as Mr. Big.
  
  In “From Russia With Love,” Bond escapes from Smersh's plot to destroy him but appears to be dying of poison as the book ends. Concern over his fate mounted among the public. His publishers finally stated, “After a period of anxiety the condition of No. 007 shows definite improvement.”
  
  Mr. Fleming liked to point out that Smersh, although often thought to be a fictional organization, existed as a Soviet counterespionage organization during and after World War II Its name is the combined form of the Russian words “smyert spionam,” meaning death to spies.
  
  When Smersh was disbanded, Mr. Fleming set up SPECTRE, as Bond's opponent. It was unquestionably fictional, the word being formed from the initials of Special Executive for Counter‐intelligence Terror, Revenge and Extortion.
  
  Under the leadership of Ernest Stavro Blofeld, whose career began as a double or triple agent in prewar Warsaw, SPECTRE has enlisted the services of former Gestapo agents, disenchanted Smersh operatives, members of the Mafia, the Red Lightning Tong and other Master criminals.
  
  In “Thunderball” Bond balks the organization's plot to extort millions of dollars from the United States with a stolen nuclear bomb. He continues his pursuit of Blofeld in “On His Majesty's Secret Service” [sic] and appears to have destroyed him in his most recent adventure, “You Only Live Twice,” both of which were serialized in the magazine Playboy.
  
  Mr. Fleming was often accused of making Bond a thinly disguised projection of himself. In their love of fast cars, golf, gambling and gourmet cooking, in their skill with firearms and cards, the two men were indeed similar, but Mr. Fleming once said, “Apart from the fact that he wears the same clothes that I wear, he and I really have little in common. I do rather envy him his blondes and his efficiency, but I can't say I much like the chap.”
  
  Mr. Fleming said he had conceived Bond as “a hero without any characteristics who was simply the blunt instrument in the hands of his government.”

  However, as with most authors, Fleming's experiences largely shaped those of his creation.
  
  Mr. Fleming was born on May 28, 1908. His father, Major Valentine Fleming, at one time a Conservative member of Parliament, was killed while fighting on the Somme in 1916. His obituary in The Times of London was written by Winston Churchill.
  
  The boy was educated at Eton, Britain's most exclusive school, and Sandhurst, the military academy. While there he was a member of the rifle team and competed in a match against the United States Military Academy.
  
  He earned a commission, but resigned before beginning active service in the largely inactive British Army of the 1820's. He also said later that he regarded tanks and trucks as a step downward from horses and sabers.
  
  Planning to enter the diplomatic service, he learned excellent French and German at the Universities of Munich and Geneva. He stood seventh on the service's entrance examinations, but since there were only five vacancies he decided to try journalism.
  
  He joined Reuters, the international news agency, and in 1929 was appointed its Moscow correspondent.
  
  “Reuters was great fun in those days,” he said. “The training there gives you a good straightforward style. Above all, I have to thank Reuters for getting my facts right.”
  
  There was a difference of opinion about this among Bond fans. They delighted in finding errors in the novels, such as the sending of a woman gang leader to Sing Sing, a men's prison.
  
  After four years he was offered the post of assistant general manager of Reuters in the Far East, but feeling the need for money, he decided to join a private bank in London. In 1935 he became a stockbroker and remained one until the outbreak of war in 1939.
  
  Mr. Fleming was commissioned in the Royal Navy and became in time personal assistant to Rear Admiral T. H. Godfrey, director of naval intelligence. The admiral was the prototype of “M,” the retired seadog who heads Bond's secret service.
  
  More important, it was Mr. Fleming's wartime service, from which he emerged as a commander, that provided the insights into the technique and practice of intelligence work that his readers found enthralling.
  
  After the war, he became foreign manager of The Sunday Times of London. His contract provided for two months of vacation a year, which he spent at Goldeneye, his home near Oracabessa in Jamaica. Mr. Fleming did most of his writing there and the island provided the background for many of his novels.
  
  Like Bond, Mr. Fleming was , tall (6‐foot‐1) and slender (168 pounds). His curly hair was graying, his complexion was ruddy and his nose had been broken.
  
  The novelist was a collector of first editions and rare books and published The Book Collector, the bibliophilic magazine.
  
  Besides his widow, whose marriage to Viscount Bothermere ended in divorce in 1952, and his son, Mr. Fleming is survived by two brothers, Peter, the explorer and writer, and Richard, a banker.

  
  
  

  
  
  1964: Pierce Brosnan leaves Ireland to join his mother May and new husband William Carmichael in Longniddry, East Lothian, Scotland.
  
  1974: Agente 007 contra el Dr. No re-released in Spain.

  

  1977: Spionen der elskede mig released in Denmark.

  
  
  
  
  
  
  
  

  
  
  1983: Octopussy – mustekala (Octopussy - Soft-bodied Cephalopods Squid/Octopus/Cuttlefish) released in Finland.

  https://www.007travelers.com/items/007-item-james-bond-007-octopussy/
  
  
  

  
  2013: Halle Berry talks to Total Film about filming Die Another Day.

  

  Halle Berry had to be sexier as Bond girl

  See the complete article here:
  

  https://www.rte.ie/entertainment/2013/0812/467674-halle-berry-had-to-be-sexier-as-bond-girl/

  Monday, 12 Aug 2013

  
  Halle Berry was told by James Bond bosses that she had to be sexier

  Halle Berry has admitted that she was told by James Bond bosses to ''be sexier'' while filming her classic scene in 2002's Die Another Day.
  
  Speaking to Total Film, the 46-year-old actress, who was pictured emerging from the water in an orange bikini for a classic scene in 2002' s Die Another Day, was urged to up her sex appeal for the shots.
  
  Speaking to Total Film, Berry said: ''The sea was freezing! I had to do it quite a few times too. I went in the water and I went out the water. Then I had to walk up the beach in a 'certain way'.
  
  ''They kept saying, 'Can you be sexier?', and I was like shouting back at them, 'this is all the sexy I got! I'm gonna get hip dysplasia if I try and make it any sexier!' ''
  
  When asked whether she thought she would be a Bond girl when she was growing up, she explained: ''My mother thought the Bond films were too adult for me to watch when I was growing up, so I never really had a chance to think about it.
  
  ''It was only as I got older I became aware of Bond.''

  
  2018: Tweets from Idris Elba spark more Bond rumours.

  Idris Elba offers cheeky tweets amid latest James Bond rumors

  See the complete article here:
  

  https://pressfrom.info/us/news/entertainment/-175973-idris-elba-offers-cheeky-tweets-amid-latest-james-bond-rumors.html

  12 august 2018 | Source: ew.com
  
  Idris Elba appears to have caught wind of the latest round of rumors that he might one day play James Bond, and he’s having some fun with the buzz on social media.
  
  Early Sunday morning, the Luther star tweeted a heavily filtered selfie and wrote, “my name’s Elba, Idris Elba” — an obvious nod to 007’s signature “Bond, James Bond” line.
  
  But while some fans might have taken that as a hint that Elba, 45, would someday don Bond’s tuxedo, he followed up hours later with a photo of Public Enemy and another tweet name-checking one of the group’s most well-known songs. “Don’t believe the HYPE…” he wrote.

  
  
  

  
  
  2034: Where the Copyright Extension Act of 1998 is applied, the Fleming books could enter the public domain in the EU and US.
  
  
• RichardTheBruce I'm motivated by my Duty.

  August 12 Posts: 14,668

  August 13th
  
  1961: The East German government starts construction of the Berlin Wall.

  j_w_pepper wrote: »

  Re August 13th
  
  ...today the East German government, with probably a slight prodding from their big brothers in Moscow, started building the Berlin Wall, in effect the centerpiece of the Iron Curtain, separating East and West for the next 28 years and about three months, not to mention being sort of prominently displayed in OCTOPUSSY. Famous quote from then Chairman of the East German Communists, Walter Ulbricht, in June 1961: "No one has the intention of erecting a wall." Two months later, it was there.

  
  
  
  

  
  
  https://www.ianfleming.com/50-years-of-octopussy-the-living-daylights/
  
  
  
  
  
  https://huntingbond.com/checkpoint-charlie-from-james-bond-octopussy-in-berlin/
  
  
  

  https://twitter.com/007/status/469094559171878912

  
  
  
  
  
  
  https://en.wikipedia.org/wiki/Checkpoint_Charlie_Museum
  
  

  
  1971: Diamonds Are Forever films Sean Connery's last scene with OO7 in a crematorium.

  https://twitter.com/007/status/1029049380064641025

  
  1979: People magazine features Moonraker.

  
  
  MOONRAKER IS THE LEAST SEXIST,
  MOST LOVABLE 007 THANKS TO
  ROGER MOORE, LOIS CHILES & JAWS
  

  1979: Moonraker released in Denmark.

  
  
  
  
  

  
  1987: Su nombre es peligro (His Name Is Danger) released in Argentina.

  
  
  
  
  
  
  
  
  
  

  1987: James Bond 007 – Der Hauch des Todes (The Breeze Of The Death) released in West Germany.

  
  
  

  
  1999: Eon select Michael Apted to direct The World Is Not Enough.

  

  

  Michael Apted: The Director That Set
  the Future of James Bond

  See the complete article here:
  

  https://ultimateactionmovies.com/michael-apted-james-bond/

  By Nicolás Suszczyk - January 10, 2021
  RIP to an ultimate 007 legend…

  

  After the release of Tomorrow Never Dies in December 1997, Pierce Brosnan frequently observed that the film was overloaded with action sequences and he hoped for something more subdued for his third adventure as James Bond. This sentiment was also shared by producers Michael G Wilson and Barbara Broccoli, who decided to take their first step in what would be their imprint in their Bond saga after the death of legendary producer Albert R Broccoli in 1996: an emotionally complex and romantic Bond film where nothing was so obvious that we immediately knew who the good and the baddies were and what they were up to.
  
  On August 13, 1998, the director for the upcoming Bond film was chosen: Michael Apted, known mostly for dramas or psychological thrillers like Blink (1993), Gorillas in The Mist (1988) and Agatha (1979), all a world apart of the style of the first eighteen James Bond movies. It wasn’t the first time a drama director joined the Bond team: Lewis Gilbert, known for Alfie (1966), was hired to direct You Only Live Twice (1967) and would return for The Spy Who Loved Me (1977) and Moonraker (1979), but all of these adventures were famous for being big action extravaganzas where the emotional side of Bond and Gilbert’s drama experience were pretty much cast aside. The same wouldn’t happen with Apted: his drama background was purposely chosen for this upcoming Bond movie, with a story (the first by regulars Neal Purvis & Robert Wade) that would show us a more fallible action hero that the one we knew before. By November of the same year, Pierce Brosnan revealed on an interview that the film’s title was The World Is Not Enough, which was none other than the Bond family motto as featured in Ian Fleming’s 1963 novel On Her Majesty’s Secret Service, the novel and the film adaptation from 1969.

  

  The World Is Not Enough took much more from On Her Majesty’s Secret Service than its title: both stories place James Bond in a situation where he has to directly or indirectly protect the defiant and adventurous daughter of a wealthy and powerful man to reach the antagonist, and in both occasions, the secret agent has soft feelings for the woman in question: one becomes the short-lived Mrs Bond, the other turns out to be the mastermind behind it all and it’s Bond himself who kills her in cold blood right after she gives her accomplice the order to dive the submarine which will be used to provoke a nuclear meltdown below the Bosphorus in Istanbul.
  
  While Martin Campbell and Roger Spottiswoode donned GoldenEye and Tomorrow Never Dies with an accelerated, somewhat urgent and bombastic pace, Michael Apted opted for a much slower pace. The nineteenth Bond isn’t devoid of explosions, chases, stunts and shootouts –some very imaginative as the moment where the secret agent is stalked by helicopters attached with big buzz-saws that cut the walkways of a caviar factory over the Caspian Sea like butter– but the viewer will feel that the moments preceding every action piece will develop in a sweet, romantic manner: the romance between Bond and Elektra adorned with a calm and mellow post-sex scene where he inquires about her kidnapping, the conversation between M and Bond where she admits that convinced Elektra’s father Sir Robert King not to pay the ransom so that she can get to Renard, the terrorist that kidnapped her; and a brief moment where 007 investigates video archives of the woman’s ordeal, freeze-framing the recording just as she sheds a tear after escaping and being rescued by the police. There is also a tender moment with the “good girl” Christmas Jones (Denise Richards) minutes before the end credits roll as both celebrate Christmas day in Istanbul, clinking glasses as fireworks can be seen in the background – quite fitting for the last James Bond film of the millennium in a season where the world was excited for the arrival of the year 2000.
  
  Apted’s choice wasn’t an exception made by Barbara Broccoli: not counting Martin Campbell’s return in Casino Royale (2006), every other Pierce Brosnan and Daniel Craig movie was characterized by the choice of drama directors like Lee Tamahori, Marc Forster, Sam Mendes and Cary Joji Fukunaga, which has helmed the yet-unreleased No Time To Die. Without doubt, a director like Michael Apted and a film like The World Is Not Enough is much closer to Barbara Broccoli’s idea of a Bond film than GoldenEye and Tomorrow Never Dies, which were much more in line with Cubby Broccoli’s action-oriented style of Bond flick.

  

  Introducing the First Female Bond Villain
  The World Is Not Enough features the first female villain in the series, something the audience discovers on par with James Bond as the story progresses: Apted observed on the DVD audio commentary that people would get impatient with the hero if they’d see him flail around in his ignorance long before he discovered who the real enemy was. The director took Elektra’s development seriously, taking advantage of his experience of directing female-lead productions and with the unaccredited collaboration of his then-wife screenwriter Dana Stevens, who added more dimensions to this important character. Sophie Marceau’s character appears before our eyes as a victim whose father dies on an attack inside the MI6 headquarters and both Bond and particularly M (Judi Dench) see her as a victim in need of protection. In reality, Elektra turned her once kidnapper, Renard, into her psychological slave by using her sexuality appealing to the man’s biggest weakness. He uses the terrorist to provoke an attack that would increase King Industries’ oil supply by eradicating the competence and the patriarchal figure of her deceased father, whom she took a disliking for when the man refused to pay the ransom money for her.
  
  Simultaneously, the man we are meant to believe is the main villain, this terrorist Renard, is also shown as a victim of sorts: he’s slowly dying as a consequence of a bullet fired on his head by agent 009 following M’s orders, and he is now willing to kill or die for the only woman that has apparently loved him. The character development is so important in this movie that we not only have a romantic post-coital moment between Bond and Elektra but a de-romanticized post-sex moment between Elektra and Renard, where the woman doesn’t feel sexually pleased by her accomplice as he asks her if Bond was a good lover. Her answer: “What do you think? I wouldn’t feel anything?”
  
  The World Is Not Enough presents us with a smart woman who plays with the emotions of people around her, a villain who is terminal and his biggest cause is the love he feels for that woman, and M making the story move along. Whatever Bond does here is more of a favour to M than an officially-sanctioned mission, from recovering Sir Robert’s money from a murky Swiss banker’s office in Bilbao to protecting Elektra King to reach Renard. During the third act, rescuing M becomes the mission when Elektra and Renard kidnap her before launching their attack to Istanbul, too. The relevance of Elektra and M in the story was so huge at one point that GoldenEye and Tomorrow Never Dies screenwriter Bruce Feirstein had to be brought again to give James Bond more relevance in a story where he seemed to be overshadowed by these female personalities.
  
  Not surprisingly, most of the aforementioned dynamics were resurfaced in 2012’s Skyfall, Daniel Craig’s third James Bond film directed by Sam Mendes and the most lucrative EON production to date: it is M’s past the one that sets the main conflict and she becomes the important woman influencing 007 throughout the story, as MI6 is also under attack and he has to protect her from a villain whom she considered death or missing, someone who has also endured big suffering on his own.

  

  An Ultimate Bond Legacy Remembered
  Michael Apted’s recent death strongly affects those who grew up with the Pierce Brosnan movies, since he is the first director of this era to depart and in such a sudden manner. Many critics expressed concern on dwelling on the emotional side of James Bond back in 1999, however in this time and age, many seemed to celebrate every attempt to approach Bond’s human side under the scope of men like Sam Mendes or Marc Forster. While most people seem to regard these recent Bond movies as the real beginning of what we could call “Barbara Broccoli’s stamp on Bond”, the truth is that this drama-oriented change showed its roots two decades ago in The World Is Not Enough, the cradle of most of the topics we saw onwards in the series. And the late Michael Apted was indeed the man chosen to lead the way.

  Nicolás Suszczyk
  https://ns-writings.blogspot.com/
  Nicolás Suszczyk has been a James Bond enthusiast since 1998, when he watched GoldenEye on TV and Tomorrow Never Dies on the big screen in his native Buenos Aires. He manages The GoldenEye Dossier, a site dedicated to the 17th James Bond film, and has collaborated for web sites and magazines related to 007 and other films of his liking. In 2019 he wrote the books The World of GoldenEye and The Bond of The Millennium.

  
  

  
  2012: A Coca-Cola ad campaign related to Skyfall is revealed in the press. Slogan: "Unlock the 007 in You".

  

  Coca-Cola Zero releases Skyfall
  campaign continuing its
  partnership with the James
  Bond franchise

  See the complete article here:
  

  https://www.thedrum.com/news/2012/08/13/coca-cola-zero-releases-skyfall-campaign-continuing-its-partnership-james-bond

  By Staff Writer-13 August 2012 11:57am

  
  Coca-Cola Zero products will undergo a Bond themed makeover

  The Coca-Cola Company has announced its Coca-Cola Zero brand is to team up with the 23rd installment of the James Bond series, Skyfall, as part of promotions for the films worldwide release this autumn.
  
  The announcement continues Coca-Cola and James Bond’s successful partnership, which began in 2008 through the brand’s association with Quantum of Solace. This time the campaign will be asking fans to “Unlock the 007 In You.”
  
  The association will see all Coke Zero products undergoing a special Bond themed makeover. The limited edition designs will feature across multiple pack formats, including cans, PET bottles and an aluminum bottle, all of which will showcase the famous Bond ‘gun barrel’ design.
  
  Marketing Director for Coca-Cola Great Britain, Zoe Howorth, commented: “Skyfall is without a doubt one of this year’s most anticipated film releases, and we are very excited to be a part of it and to continue our relationship with the world’s favourite movie franchise.
  
  “James Bond is a global cultural icon who consistently takes action to create what’s possible, making this the perfect partnership for Coca-Cola Zero.”
  
  The campaign is set to roll out across TV, cinema, PR and outdoor advertising. Digital and social media campaigns, as well as on-pack promotions are also planned.

  
  
  
  
  

  
  
  
  
  
  
  

  2015: The Telegraph reports that The Guardian reports that David Oyelowo will be Bond.

  
  Telegraph Culture Books What to Read

  David Oyelowo to be James Bond (sort of)

  See the complete article here:
  

  https://www.telegraph.co.uk/books/what-to-read/david-oyelowo-james-bond/

  

  David Oyelowo to play James Bond in 'Trigger Mortis'
  Credit: Rex/Richard Saker - Catherine Gee
  13 August 2015 • 10:04am
  
  British actor David Oyelowo is to play James Bond – though in voice only. The Guardian reports that the 39-year-old is set to read the audio edition of Trigger Mortis, a new novel commissioned by the Ian Fleming estate and written by Anthony Horowitz.
  
  It’s set during the space race in 1957, two weeks after the events in Goldfinger. It will also contain previously unpublished material written by Fleming for Murder on Wheels, a television series that was never made. Oyelowo’s invitation to play Bond came directly from the Fleming estate.

  “I am officially the only person on planet Earth who can legitimately say: ‘I am the new James Bond’ — even saying that name is the cinematic equivalent of doing the ‘to be or not to be’ speech,” he said. “I was asked specifically by the Fleming estate, which is really special.”

  Oyelowo was born in Oxford and began his career on the stage with the Royal Shakespeare Company and became the first black actor to portray the title role in Henry VI in 2001. Last year he was a regular screen presence with roles in the HBO TV film Nightingale, Interstellar and A Most Violent Year.
  
  The Bafta, Emmy and Golden Globe-nominated actor was also widely acclaimed for his role as Martin Luther King in Selma.
  
  In a statement, Horowitz said: “What an honour to have an actor as talented as David to read my take on Bond. He has a brilliant voice and talent for bringing out the nuances of dialogue and characters.”
  
  Oyelowo is not the first black actor to play the role of Bond in audio form. In 2012, Hugh Quarshie read the audiobook of Dr No as part of a box set.
  
  The casting of cinema's next 007 is still yet to be announced, although rumours continue to circulate that Idris Elba will become the first black Bond – despite Elba ruling himself out. Daniel Craig is contractually obliged to play Bond in one more film after Spectre, which is released in November, but reports suggest he may be released from his contract early.
  
  Trigger Mortis will be released on 8 September.

  
  
  

  
  2020: Steidl publishes The Goldfinger Files: The Making of the Iconic Alpine Sequence in the James Bond Movie “Goldfinger” by Steffen Appel and Peter Waelty.

  
  
  
  https://speedreaders.info/22883-the-goldfinger-files/
  
  
  
  
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 14 Posts: 14,668

  August 14th
  
  1962: The Thames Ditton factory delivers a 1962 AC Aceca Coupe to Ian Fleming.

  

  Ian Fleming sports car under hammer at Goodwood Revival

  See the complete article here:
  

  https://www.bbc.com/news/uk-england-11340815

  17 September 2010

  
  The car was delivered in the same year that
  the writer finished The Spy Who Loved Me

  A sports car once owned by James
  Bond creator Ian Fleming is being
  auctioned at the Goodwood Revival
  in West Sussex.

  The 1962 AC Aceca Coupe is said to be one of six surviving Ford-powered Acecas in the world.
  
  Bonhams which is running the auction said the car had a pre-sale estimate of £100,000 to 130,000.
  
  The two-seater, which is dark blue with a red leather interior, is recorded as having left the factory in Surrey in 1962 for delivery to Ian Fleming.
  
  The car was delivered from the Thames Ditton factory to the writer on 14 August. It was the same year that he completed The Spy Who Loved Me.
  
  According to Bonhams, Fleming kept the car for a year before selling it in 1963. Since then, it has changed hands several times.
  
  Another car in the auction, with a sale estimate of £20,000 to £24,000, is a 1988 Jaguar XJ-S V12 soft-top convertible that once belonged to the Duchess of York.
  
  And a 1953 Jaguar C-Type, the same make and model that won the Le Mans 24-Hours race twice in 1951 and 1953, will also be auctioned with a guide price of between £800,000 and £1m.
  
  The auction is being held at the racing festival near Chichester on Friday evening.

  
  
  
  
  
  
  
  

  
  1964: Agent 007 jages (Agent 007 Hunted) re-released in Denmark.

  
  
  
  

  1964: Salainen agentti 007 Istanbulissa (Secret Agent 007 in Istanbul; also Swedish Den hemliga agenten 007 i Istanbul/The Secret Agent 007 in Istanbul) released in Finland.

  
  

  1966: Halle Berry is born--Cleveland, Ohio.
  
  1978: Moonraker filming begins in Paris, France.
  
  1987: Spioner der ved daggry (Spies Die at Dawn) released in Denmark.

  
  

  1987: The Living Daylights released in Zagreb, Yugoslavia.
  
  1993: Domark publishes video game James Bond 007: The Duel--developed by The Kremlin, for use with Sega's Mega Drive/Genesis, Master System and Game Gear consoles. Timothy Dalton's last appearance in the role.

  

  James Bond 007: The Duel (1993)

  James Bond: The Duel (original title)
  Action, Adventure, Thriller | Video game released 14 August 1993
  https://www.imdb.com/title/tt0483987/

  In James Bond 007: The Duel, you must infiltrate a Caribbean island base where a mad professor is holding people hostage.
  Writer: Ian Fleming (characters and universe)

  
  
  
  

  
  https://www.imdb.com/video/vi1346813209?playlistId=tt0483987
  
  https://www.imdb.com/title/tt0483987/videoplayer/vi1346813209
  

  
  2002: Peter Roger Hunt dies at age 77--Santa Monica, California.
  (Born 11 March 1925--London, England.)

  

  Peter Hunt
  The man who cut down 007

  See the complete article here:
  
  https://www.theguardian.com/news/2002/aug/16/guardianobituaries.filmnews[/center]

  Ronald Bergan - Thu 15 Aug 2002 20.16 EDT

  The film editor and director Peter Hunt, who has died aged 77, was associated with the huge success of the James Bond movies, the longest-running series in the history of the cinema. He edited the first five Bond films - generally considered the best - creating a style of sharp cutting that has been emulated by many editors and directors of action movies.
  
  He also directed one, On Her Majesty's Secret Service (1969), mistakenly thought of as the worst of the Bond films because of George Lazenby's forgettable 007. The inexperienced Australian model carried the can for the film's comparative box-office failure, but Hunt was praised for his pacy, and seemingly effortless, direction.
  
  Already with a decade of editing behind him, Hunt only reluctantly agreed to edit the first Bond film, Dr No (1962). "I was really not interested in doing it at all," he recalled. "But, then I thought, well, if the director is Terence Young, and I know him well enough, and I find him rather nice, maybe it will be alright." Previously, Hunt had suggested to Harry Saltzman that, in his search for an actor to portray James Bond, the producer look at the film he had just edited, the feeble army comedy On The Fiddle (1961), in which Sean Connery played a Gypsy pedlar.
  
  The editing style of the Bond movies was established because, "if we kept the thing moving fast enough, people won't see the plot holes," what editors call "chets", or cheated editing tricks. "On Dr No, for example, there was a great deal missing from the film when we got back from shooting in Jamaica, and I had to cut it and revoice it in such a way as to make sense."
  
  It was from then that Hunt decided to use jump cuts and quick cutting, and very few fade-ins, fade-outs and dissolves, which "destroy the tension of the film". The fight between Connery and Robert Shaw on board the Orient Express, in From Russia With Love (1963), took a total of 59 cuts in 115 seconds of film.

  Born in London, Hunt learned his craft from an uncle who made government training and educational films. His first claim to fame was, in fact, appearing on a recruiting poster for the Boy Scouts Association when he was 16, and he read the lesson at Lord Baden-Powell's funeral. At 17, he joined the army, and was almost immediately shipped off to Italy, where he took part in the battle of Cassino.
  
  After the war, he returned to work with his uncle, before becoming assistant cutter for Alexander Korda, and a fully fledged editor with Hill In Korea (1956). He worked with both Terence Young and Lewis Gilbert on a number of films prior to editing their Bond efforts.

  Besides editing, Hunt directed some second-unit work on the Bond films, as well as the title sequence for Chitty Chitty Bang Bang (1968). "I had a terrible time in the cutting room on You Only Live Twice (1967), with Donald Pleasance as Blofeld. Lewis [Gilbert] had made him into a camp, mini sort of villain. If you look at the film very carefully, Pleasance doesn't walk anywhere, because he had this mincing stride. He was so short that he looked like a little elf beside Connery. I used every bit of editing imagination I could so that he could be taken seriously as a villain."
  
  Many purist Bond fans regret that Hunt never directed another 007 movie. His determination to be more faithful to the Ian Fleming original, even down to the death of the heroine (Diana Rigg) and the scaling down of gadgetry, puts On Her Majesty's Secret Service above many subsequent films in the series. It also happened to be the best picture he directed.

  There followed two overlong adventure yarns set in Africa with Roger Moore, Gold (1974) and Shout At The Devil (1976); a couple of macho movies with Charles Bronson, Death Hunt (1981) and Assassination (1986); and the dispensable Wild Geese II (1985). But the work began to dry up, a situation that depressed the normally ebullient and energetic Hunt. In 1975, he settled in southern California with his partner Nicos Kourtis, who survives him.
  
  Peter Roger Hunt, film editor and director, born March 11 1925; died August 14 2002

  

  Peter R. Hunt (I) (1925–2002)

  Editor | Director | Editorial Department
  https://www.imdb.com/name/nm0402597/?ref_=fn_al_nm_1
  

  
  
  
  
  
  
  

  
  2008: Heineken renews its product placement in the Bond film franchise.

  

  Heineken beer in James Bond movie Quantum of Solace

  http://www.007museum.com/HeinekenQOS.htm"]007museum.com/HeinekenQOS.htm
  Amsterdam, 14 August 2008 - Heineken International today announced that it will launch a worldwide promotional campaign for the 22nd James Bond film, “Quantum of Solace,” a Metro-Goldwyn-Mayer Pictures’/Columbia Pictures’ release of EON Productions. The film, which will be released in movie theatres worldwide in November 2008, is Heineken’s 5th consecutive global partnership with one of the most successful and longest running movie franchises in history.
  
  Stefan Orlowski, Group Commerce Director, Heineken N.V., said of the partnership: “Our long association with James Bond has helped enhance the profile of the Heineken brand across the world. The partnership supports our commitment to extend the brand’s leadership position within the international premium beer segment. Our global campaign offers a great opportunity to drive sales growth and to help build the value of Heineken's brand equity."
  
  The new marketing campaign provides the opportunity for consumers to experience the premium, stylish and international world of James Bond. The campaign features leading lady Olga Kurylenko and was shot using actual film sets and scenes from the film. It includes TV and print advertising and on- and off-premise promotions, interactive and digital activities, radio promotions, consumer competitions and tie-ins with local premiere events. The campaign will be launched globally across an estimated 40 countries in October in conjunction with the worldwide release of the film.
  
  Olga Kurylenko, who plays the role of Camille in the upcoming film, commented: “I am delighted to support Heineken’s global “Quantum of Solace” marketing campaign. Heineken has done a great job in making James Bond, Camille and the world of Bond connect with their iconic international brand.”
  
  Melinda Eskell, Manager Heineken Brand Communication said: “We worked in close partnership with Eon and Columbia Pictures to ensure the global campaign remained authentic to the film and the James Bond franchise. The involvement of Olga Kurylenko combined with the use of other authentic Bond assets provides Heineken the unique opportunity to allow our consumers worldwide to experience the world of Bond.”
  
  In “Quantum of Solace,” Daniel Craig reprises his role as Ian Fleming’s James Bond 007. The film is directed by Marc Forster, the screenplay is by Neal Purvis & Robert Wade and Paul Haggis and Michael G. Wilson and Barbara Broccoli producer.

  
  
  
  

  2008: Reuters reports on the Ford Ka and James Bond.

  

  License to economize: Ford Ka gets Bond debut

  See the complete article here:
  

  https://www.reuters.com/article/us-ford-bond/license-to-economize-ford-ka-gets-bond-debut-idINN1442055020080815

  By Reuters Staff | 2 Min Read
  
  DETROIT (Reuters) - James Bond has outrun evildoers in a BMW with rocket launchers, a high-performance Mustang and an Aston Martin with an ejector seat.

  
  The Ford Ka in an undated image courtesy of Ford. The company said on Thursday its
  redesigned Ka city car would debut in the upcoming Bond film "Quantum of Solace".
  REUTERS/Handout

  But now, at a time of record gas prices, is the super-spy ready for a minicar?
  
  Ford Motor Co said on Thursday its redesigned Ka city car would debut in the upcoming Bond film “Quantum of Solace,” scheduled for release in North America on November 7.
  
  The movie is the 22nd in the long-running franchise based on the books by author Ian Fleming about a secret agent who saves the world from villains, often after a high-speed chase in a gadget-heavy supercar.
  
  Ford struck a three-movie contract with Bond producers, starting with “Die Another Day” in 2002. Financial terms were not disclosed.
  
  In his 2006 debut as 007, British actor Daniel Craig appeared behind the wheel of a Ford Mondeo sedan and was flipped at high-speed in an Aston Martin, a legendary Bond ride and a luxury brand then-owned by Ford.
  
  Pictures from the “Quantum [of] Solace” set show actress Olga Kurylenk, the latest Bond girl, behind the wheel of a golden Ford Ka.
  
  Ford declined to say whether Bond would take a ride in its upcoming minicar, which will go on sale in Europe and other markets outside the United States.
  
  Action sequences involving sports cars in the latest Bond movie have caused several mishaps.
  
  In April, a stuntman was hospitalized with serious injuries suffered in an accident behind the wheel of an Alfa Romeo sports car in northern Italy.
  
  Days before, British media reported that another car to be used in the production, an Aston Martin DBS, skidded off the road into a lake, but the driver escaped with minor injuries.
  
  Aston Martin is 50 percent owned by Kuwait’s Investment Dar, part of a group that bought the brand from Ford last year for $956 million.
  
  Sony Pictures Entertainment, a unit of Sony Corp, is the distributor of the film.
  
  Reporting by David Bailey, editing by Richard Chang

  
  
  
  

  
  2013: Mark Sutton dies at age 42--Mont Blanc, France.
  (Born 13 April 1971--UK.)

  

  Mark Sutton Dies in Wingsuit Accident in Switzerland

  See the complete article here:
  

  https://www.chamonix.net/english/news/mark-sutton-dies-in-wingsuit-accident

  
  ChamonixNews's picture Submitted by ChamonixNews on Fri, 16 Aug 2013 - 09:57
  
  Mark Sutton, 42, was staying in Chamonix with his girlfriend, Victoria Homewood, 39. On Wed 14 Aug 2013 he travelled to Switzerland and took a helicopter flight with Tony Uragallo. They were participating in an event organised by Epic Tv, the French extreme sports online channel, which featured the astonishing Alexander Polli Batman Cave Flight.
  
  At an altitude of 3,300m Mark and Tony Uragallo both exited the helicopter at about 11am. This was a rehearsal to check out their equipment and the flight path. Each pilot was wearing three cameras so that they could film each other and their own trajectory. The anticipated duration of the rehearsal flight was about 60 seconds.
  
  Shortly after exiting the helicopter, Mark appeared to lose control as he deviated from the planned route. He impacted on the mountain side at an estimated 150mph (240km/h) beside the Trient Glacier close to the border with France.
  
  Wednesday's accident was the first involving a wingsuit pilot in the Swiss canton of Valais. On 25 Jul 2013 a 24 year old German male died after jumping from the Brevent (2525m).

  Mark Sutton became particularly well known for the parachute jump he and Gary Connery made from a helicopter during the opening ceremony of 2012 London Olympics. Mark played the role of James Bond, while Gary played the role of the HRH Queen Elizabeth II.

  
  
  
  
  
  

  
  2019: Dynamite Entertainment releases James Bond Origins #12.
  Ibrahim Moustafa, artist. Jeff Parker, writer.

  

  JAMES BOND ORIGIN #12 (OF 12)

  https://www.dynamite.com/htmlfiles/viewProduct.html?PRO=C72513027244712011
  Cover A: Dan Panosian
  Cover B: Dean Kotz
  Cover C: Vasco Georgiev
  Cover D: Ibrahim Moustafa
  Cover E: Bob Q
  Writer: Jeff Parker, Ibrahim Moustafa
  Art: Ibrahim Moustafa
  Genre: Action/Adventure
  Publication Date: August 2019
  Format: Comic Book
  Page Count: 32 Pages
  ON SALE DATE: 8/14/2019

  "The Debt: Finale"
  
  In 1941, Lieutenant Bond finally learns the truth of his deceased mentor, Commander Weldon. But truth comes at a cost. The conclusion of Bond's adventures in 1941, by JEFF PARKER (Aquaman, Fantastic Four) and IBRAHIM MOUSTAFA (James Bond: Solstice, Mother Panic).

  
  
  
  
  
  
  
  
  
  
  
  
  

  2019: Metro reports on Gerard Butler recalling a meeting with Eon twenty years prior.

  

  Gerard Butler met with James Bond bosses
  20 years ago but is now too old to play 007

  See the complete article here:
  

  https://metro.co.uk/2019/08/14/gerard-butler-met-james-bond-bosses-20-years-ago-now-old-play-007-10570630/

  Mel Evans | Wednesday 14 Aug 2019
  
  https://metro.co.uk/wp-content/uploads/2019/08/GettyImages-1127323698.jpg?quality=90&strip=all&zoom=1&resize=644,452
  We won’t be seeing Gerard as Bond (Picture: Getty Images)
  
  Gerard Butler has poured cold water on any hopes he would be donning the famous James Bond tuxedo and getting his martini all shaken, not stirred.
  
  Seems he’s been asked before to play the suave spy and turned it down. Now? Well, he believes he’s just too old.
  
  The Angel Has Fallen star was in London chatting about his new movie when he was quizzed on radio about taking on the famous spy.
  
  His name has been thrown about for a long time and with Daniel Craig about to hang up his 007 badge following the next instalment, Bond 25, next year it begs the question of who will take over.
  
  Everyone from Gerard to Idris Elba, Tom Hiddleston and James Norton has been mentioned.
  
  But Gerard thinks time is no longer on his side.

  
  Daniel Craig in Quantum Of Solace
  It’s thought Bond 25 will be Daniel’s last film as the spy (Picture: Rex Features)

  ‘No. I had a meeting for it like 20 years ago,’ he said on Capital FM’s Breakfast show with Roman Kemp on Wednesday.
  
  ‘Now I think I’m at a nice ripe old age where they won’t be coming back my way which is fine.’
  
  Gerard is pretty happy working on his own franchise with Fallen (first it was Olympus, then London, now Angel).
  
  ‘Listen, here’s the thing, you know what I love is – and I love Bond, I grew up on Bond – but the cool thing with this is that we created our own franchise,’ he continued.
  
  ‘We created our own Bond and that’s more fun than to have to play Bond and be compared to the others.’
  
  That’s not to say he hasn’t had his own brush with Bond in the past, as Gerard recounted a rather thrilling moment on set with former 007 star Pierce Brosnan.
  
  Speaking about the injuries he’s sustained living the life of an action man, he said: ‘Yeah, in Chasing Mavericks I ended up in hospital.
  
  ‘I’ve been in car crashes, in fact, Pierce Brosnan – James Bond himself – drove me right into a wall. That was 10 years ago.’
  
  Fun times!

  Tomorrow Never Dies
  
  
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 14 Posts: 14,668

  August 15th
  
  1944: Barbara Bouchet is born--Liberec, Czechia.

  
  
  

  1947: Jenny Hanley is born--Gerrards Cross, Buckinghamshire, England.

  

  Jenny Hanley about her work on On Her
  Majesty’s Secret Service

  See the complete article here:
  

  http://iluminar.tv/jenny-hanley-about-her-work-on-on-her-majestys-secret-service/

  March 16, 2019

  This interview originally appeared on From Sweden with Love
  https://jamesbond007.se/eng/intervjuer/jenny_hanley_on_her_majestys_secret_service_interview

  By Mark Cerulli
  

  FSWL contributor and LA correspondent Mark Cerulli talks to English actress
  Jenny Hanley,
  the Irish girl in On Her Majesty’s Secret Service (1969) starring
  George Lazenby
  as Ian Fleming’s 007 that celebrates its 50th Anniversary this year.

  
  A Girl On The Mountain
  One of my first questions for the wonderful British actress Jenny Hanley was “When did you get bit by the acting bug?” Her answer was a total surprise – no “acting bug” bit, instead, she was born into show business…
  
  “Both my parents were actors and my grandparents were professional photographers,” Jenny states. (One of their clients was none other than future-Bond, Sir Roger Moore) She studied child psychology and had her sights on a quiet career as a nanny. It was her brother who wanted to be an actor, and yet she got all the breaks – being sent to modeling school, being spotted and suddenly finding herself in front of the camera in commercials and on magazine covers. Not the easiest transition for the painfully shy young woman.
  
  “I wasn’t a wall flower, I was lichen!” the actress remembers with a laugh.
  
  On Her Majesty’s Secret Service was Jenny’s second film. (Her first was a one scene walk on in 1968’s hedonistic British drama Joanna) None other than Harry Saltzman spotted her in a commercial and wanted to include her in the stable of young women he was building for use in films. (During Hollywood’s “Golden” era, studios groomed young talent, giving them acting and voice lessons along with other training. The UK’s Rank Organization had a similar “charm school”.) Saltzman, as always thinking ahead, envisioned building a similar talent pool for Bond films and other projects.
  
  Harry offered her a movie straight away, “But the part had a nude scene which I wouldn’t do…” Jenny recalled. Instead Saltzman suggested she “… go off to Switzerland [Schilthorn Piz Gloria] and have fun for a few weeks.” And just like that Jenny had a role in the next Bond film! The producer also told her that she had to wear a red wig as they already had several blondes in the cast.
  
  Jenny felt right at home on the set as she had worked with many members of OHMSS’s female cast – including Joanna Lumley, Anouska Hempel (now one of the most successful interior designers in Europe) and her London neighbor, Catherine Schnell.
  
  When asked about her memories of Harry Saltzman, Jenny mentioned going into his office, off London’s ritzy Park Lane: “It was a very masculine office, with dark furniture and a leather sofa that was so deep if you sat on it and leaned back, your feet were up off the floor like a child.” And if that weren’t intimidating enough, “Harry was behind an enormous desk up on a plinth, so he was definitely the King!” Of course he was – as half of the most successful producing team in movie history. The Bond films literally coined money and Saltzman and Albert “Cubby” Broccoli wielded immense power, yet both men treated her royally – “Harry was very sweet,” Jenny recalls, adding, “And Cubby was just as his name suggests, ‘Cuddly Cubby’.”
  
  She also called director Peter Hunt “a gentle soul” although, “Peter didn’t have much to do with us because we didn’t have much to do.”
  
  While she said Hunt wasn’t a “strong” director, “He made a really good film and he knew what he wanted. By gosh, the fight scenes, the skiing and car chases were brilliantly done!” Jenny also recalled an incident that shows how the Bond production team would let nothing stand in the way of getting a great shot: “There was a scene up on the mountain, and there wasn’t enough snow, so Peter sent a helicopter to another mountain and they filled up a huge upside-down parachute with snow and made several trips so we had enough snow! In a Bond movie, it was all possible to do…”
  
  In terms of “character development”, there wasn’t a lot for Jenny’s Irish Girl – “I sat around and practiced my Irish accent and wound up not saying anything at all,” Jenny remembers with a chuckle. “I always say that a standard lamp could have done what I did in the film.” (A very beautiful standard lamp!)
  
  For the Bond girls on location – every day began the same: “We were picked up in a horse drawn carriage, bundled in furs just to take us to the cable car to go up the mountain…. it was slightly surreal,” she marvels. Light workload or not, her memories of the set were nothing but positive… “Cubby wanted everything to be a family, which was sweet. And while we were out in Switzerland, his son was going to have his first haircut, which was to be a celebration and everyone was invited. It was great!”
  
  Jenny also had a connection to the new Bond – George Lazenby – having met him when she was modeling. While he was friendly and fun to be around, Jenny recalled a bit of his strong personality coming out when he visited a local restaurant without a reservation. When told it was booked, he came back with, “Don’t you know who I am?” One hopes he got that table!
  
  Of course, the pressure George was under was enormous, with the future of one of Cinema’s most valuable franchises riding on his relatively inexperienced shoulders. Fortunately, Lazenby had enough self-confidence for five men, so he was able to shrug the stress off and do the work.
  
  “He carried the film and he did it beautifully… he had a good sense of humor and we got on well,” Jenny remembers.
  
  The actress is also full of admiration for George’s famous independent streak.
  
  “I remember his coming back for the premiere with long sideburns and facial fur (!) and being told, ‘That’s not Bond, got to a barber and get yourself shaved so you look like Bond’ and George said ‘No, I won’t.’ That was George!”
  
  Looking back on On Her Majesty’s Secret Service, Jenny has nothing but good feelings about the film. “It was good fun to do, ” she said, “And being a part of such an extraordinary franchise, Cubby made it like family and we are a family because we still meet up [at conventions] and EON [Productions] is very keen on keeping that family together.”
  
  As On Her Majesty’s Secret Service turns 50 this year the film will be celebrated with two unique events in Portugal and Switzerland, the latter co-hosted by Schilthornbahn AG and Martijn Mulder’s On The Tracks of 007, in May and June.

  

  
  1964: England buries Ian Lancaster Fleming at Sevenhampton, near Swindon, England.

  
  
  Omnia perfunctus vitae praemia, marces, meaning
  "Having enjoyed all life's prizes, you now decay."
  On the Nature of Things (De rerum natura)

  
  1983: Octopussy released in Denmark.

  https://www.bond-o-rama.dk/en/op-dk-poster-1983/

  
  https://www.bond-o-rama.dk/en/octopussy-dk-ad-sheet-1983/
  
  

  1987: “If There Was a Man” by Chrissie Hynde and The Pretenders charts in the U.K., eventually reaching #49.

  
  

  
  
  
  
  
  
  [img][/img]

  
  1997: Tomorrow Never Dies films OO7 firing rockets at the bad guys.
  
  2007: Horsetalk New Zealand reports on protests for Quantum of Solace filming the Palio horse race in Italy.

  

  Protest at James Bond's Palio horse race plan

  See the complete article here:
  

  https://www.horsetalk.co.nz/archives/2007/08/111.shtml

  August 15 2007
  
  James Bond may finally have met his match in the form of angry animal-rights activists.
  
  The fictional British Secret Service agent intends involving horses in the climax of his latest adventure. The end of his latest movie centres on the Palio, an ancient bareback horse race around the tight streets of the Tuscan hill town of Siena.
  
  Animal rights activists have long protested against the cruelty of the race, which is estimated to have claimed the lives of 50 horses in the last 35 years, as well as scores more injured.
  
  They argue that Agent 007's involvement will glamourise the race.
  
  The six-monthly race is run in August, and it is understood camera crews will be filming it for the as-yet unnamed 22nd movie in the James Bond series.
  
  It is unclear whether Bond, played by Daniel Craig, will ride in the movie. Insiders have suggested Bond will be chasing a villain around the town as the race unfolds around them.
  
  Opponents of the race include PETA and the the Italian AntiVivisection League. The Italian Federation of Equestrian Sport has also voiced concern, pointing to horses being exposed to "unacceptable risks".
  
  The race is renowned for not having many rules. Riders are allowed to knock other riders off their horses, but are not allowed to grab their reins.

  
  
  
  
  
  

  2008: Ford Motor Company puts out a press release on its latest Ka and Bond connections.

  

  BOND MOVIE ROLE FOR NEW FORD KA

  See the complete article here:
  

  http://ophelia.sdsu.edu:8080/ford/01-24-2009/about-ford/news-announcements/press-releases/press-releases-detail/pr-bond-movie-role-for-new-ford-ka-28874.html

  Brentwood, Essex, August 15, 2008 – The highly-anticipated new James Bond adventure, ‘Quantum of Solace’, will feature a cameo appearance from Ford’s fresh-faced new model, the all-new Ford Ka.
  
  Ford’s cheeky new small car will make its screen debut alongside the film's beautiful but feisty leading lady, Olga Kurylenko. Kurylenko plays Camille, a woman with her own personal mission and who quickly becomes an unlikely ally for Bond.
  
  The 'Quantum of Solace' Ka is unique with metallic gold paint and an exclusive exterior graphics and interior trim combination.
  
  “The new Ka is the perfect match for the character of Camille – adventurous, individual and thoroughly modern,” says Ford of Europe’s Chief Operating Officer, Stephen Odell. “We are delighted that the launch of the film coincides with the launch of such a significant new model for Ford of Europe.”
  
  The special ‘Quantum of Solace’ Ka was created by Ford of Europe’s Design team, in collaboration with the movie’s Oscar ® award-winning production designer, Dennis Gassner. The Ka’s cameo continues Ford of Europe's relationship with the James Bond films, following the debut appearance of the latest Ford Mondeo, in the 2006 blockbuster, ‘Casino Royale’.
  
  Twelve years after the original Ford Ka wowed customers with its modern spirit and what has proved to be a remarkably age-less design, its successor looks set to repeat its impact.
  
  The new model retains all the qualities which made the Ka so popular – compact size, great looks, lively dynamics and fun personality – but presents them in a fresh new package. Further technical details of the new Ford Ka will be revealed closer to launch later in 2008.
  
  ‘Quantum of Solace’ is produced for EON Productions by Michael G. Wilson and Barbara Broccoli and distributed by Sony Pictures Entertainment.
  
  Directed by Marc Forster, the film stars Daniel Craig as the legendary secret agent, James Bond and opens in the UK and France on October 31st, then across the rest of Europe during November 2008.
  
  The all-new Ka enjoys the spotlight of its own at the 2008 Paris Motor Show, on October 2.
  # # #

  ABOUT EON PRODUCTIONS
  EON Productions/Danjaq, LLC, is owned by the Broccoli family and has produced twenty two James Bond films since 1962, including QUANTUM OF SOLACE. The James Bond films, produced by Michael G. Wilson and Barbara Broccoli, make up the longest running franchise in film history and include the recent blockbuster films GOLDENEYE, TOMORROW NEVER DIES, THE WORLD IS NOT ENOUGH, DIE ANOTHER DAY and CASINO ROYALE. EON Productions and Danjaq LLC, are affiliate companies and control all worldwide merchandising of the James Bond franchise.

  ABOUT COLUMBIA PICTURES
  Columbia Pictures, part of the Columbia TriStar Motion Picture Group, is a Sony Pictures Entertainment company. Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of filmed entertainment in 67 countries. Sony Pictures Entertainment can be found on the World Wide Web at http://www.sonypictures.com.

  
  
  
  
  
  
  
  
  
  
  
  
  

  
  2012: An official James Bond scent becomes available at Harrod's.

  

  For your nose only: James Bond gets his first fragrance

  By Oliver Franklin-Wallis
  Friday 27 July 2012

  See the complete article here:
  

  https://www.gq-magazine.co.uk/article/james-bond-007-official-fragrance

  
  Whether in Ian Fleming's novels or the film outings, 007 has never been subtle about his preference for particular brands of car, drink or tailor - but Bond was never particularly forthcoming about his choice of cologne. (The closest we get is Fleming's own preference for Floris No.89.) That's all set to change with the unveiling of the first official James Bond fragrance, arriving in September from P&G to mark the franchise's 50th anniversary. Thankfully, the scent eschews hints of Aston Martin leather and martini top notes for a modern take on classic Sixties fragrances, with hints of fresh apple, cardamom, sandalwood and vetiver. Because given what we've seen of Daniel Craig's motorcycle-riding, Bérénice-seducing, Heineken-swigging hero in Skyfall, he's going to need to freshen up...
  
  £25 for 50ml. Available exclusively at Harrods from 15 August 15. Available nationwide from 19 September. 007.com

  
  
  

  2017: Daniel Craig confirms his return for BOND 25. Also confirmed on Instagram.

  
  
  

  Daniel Craig will return as 007 in Bond 25. The actor confirmed he would play James Bond for the fifth time to host Stephen Colbert on The Late Show. Bond 25 will be released in US cinemas on November 8, 2019 with a traditional early release in the UK and the rest of the world.

  
  2019: Sotheby's auctions an Aston Martin DB5.

  
  
  

  Calling All Secret Agents: James Bond’s 1965 Aston
  Martin DB5 Is Up for Auction
  By Sotheby's

  See the complete article here:
  

  https://www.sothebys.com/en/articles/james-bonds-1965-aston-martin-db5-goldfinger-rm-monterey-auction

  Automobiles | RM Sotheby's | Jun 12, 2019
  
  RM Sotheby’s, the official auction house of Aston Martin, is offering perhaps the most iconic Aston Martin of all time to lead ‘An Evening with Aston Martin,’ a special single-marque sale session at the 2019 Monterey auction on 15 August. Featuring thirteen functioning Bond modifications, the James Bond 007 Aston Martin DB5 is one of just three surviving examples commissioned in period by Eon Productions and fitted with MI6 Q Branch specifications as pictured in Goldfinger.
  
  No one could have predicted the fabulously successful multi-decade synergy that would develop when production designer Ken Adam and special effects man John Stears visited Aston Martin’s Newport-Pagnell plant in late 1963. The two men were on a mission to source a pair of the latest Aston Martin models for use in Eon Productions’ third adaptation of an Ian Fleming novel, again about the MI6 superspy with a license to kill, James Bond. The film was called Goldfinger.

  https://www.sothebys.com/en/articles/james-bonds-1965-aston-martin-db5-goldfinger-rm-monterey-auction
  Monterey 2019: The Most Famous Car in the World

  Two near-identical cars were built and loaned to Eon Productions for filming, with each fulfilling various roles; one for stunt driving and chase sequences and therefore needing to be lightweight and fast, and the other for interior shots and close-ups, to be equipped with functional modifications created by Stears. As Desmond Llewelyn’s legendary weapons-master Q would go on to explain to Sean Connery’s 007, the Snow Shadow Gray-painted DB5 was equipped with front and rear hydraulic over-rider rams on the bumpers, a Browning .30 caliber machine gun in each fender, wheel-hub mounted tire-slashers, a raising rear bullet-proof screen, an in-dash radar tracking scope, oil, caltrop and smoke screen dispensers, revolving license plates, and a passenger-seat ejection system. Although never used during the film, the car was also equipped with a telephone in the driver’s door to communicate with MI6 headquarters and a hidden compartment under the driver’s seat containing several weapons.

  https://rmsothebys.com/en/auctions/mo19/monterey/lots/r0050-1965-aston-martin-db5-bond-car/778818
  The 1965 Aston Martin DB5 Bond Car to be offered at RM Sotheby’s Monterey sale.
  Estimate $4,000,000–6,000,000. (Simon Clay © 2019 Courtesy of RM Sotheby’s)

  The smash success of Goldfinger was also a success for Aston Martin, which saw DB5 sales surge to fuel an unprecedented level of production. The producers at Eon also took notice of the enormous appeal and potential marketing opportunities. In preparation for Thunderball’s release, the company ordered two more DB5 saloons, receiving chassis nos. DB5/2008/R, the example on offer at RM Sotheby’s Monterey sale, and DB5/2017/R. The two cars were fitted with all of Stears’ Goldfinger modifications and were shipped to the United States for promotional duties for Thunderball.

  https://sothebys-com.brightspotcdn.com/dims4/default/2169d51/2147483647/strip/true/crop/3734x2667+133+0/resize/1158x827!/quality/90/?url=http://sothebys-brightspot.s3.amazonaws.com/dotcom/d1/a9/0171062a4cdc911fc3e15c7d25d3/1965-aston-martin-db5-bond-car-simon-clay-c-2019-courtesy-of-rm-sothebys-5.jpg
  https://sothebys-com.brightspotcdn.com/dims4/default/9eae80e/2147483647/strip/true/crop/6273x4480+447+0/resize/1158x827!/quality/90/?url=http://sothebys-brightspot.s3.amazonaws.com/dotcom/bf/8a/376eed504a62bcd24e5c623cb566/1965-aston-martin-db5-bond-car-simon-clay-c-2019-courtesy-of-rm-sothebys-10.jpg
  A look at the interior gadgets in the Bond DB5
  (Simon Clay © 2019 Courtesy of RM Sotheby’s)

  Following the tour, the two cars were no longer required as the next two Bond films debuted with different, more current automobiles in the hero roles and, accordingly, they were quietly offered for sale in 1969. The cars were soon purchased as a pair by well-known collector Anthony (now Lord) Bamford, whose British registration for chassis no. 2008/R remains on file. The Aston Martin build record lists Eon Productions as the original purchaser, with the important designation of being a “(Bond Car)” noted. Bamford then sold DB5/2008/R to B.H. Atchley, the owner of the Smokey Mountain Car Museum in Pigeon Forge, Tennessee. The Aston Martin was featured as the museum’s centerpiece, remaining in a pristine state of display for 35 years, receiving regular start-ups for exercise. In 2006, RM Sotheby’s (previously RM Auctions) was privileged to offer this very Bond DB5 for public sale, in a largely unrestored state.

  https://sothebys-com.brightspotcdn.com/dims4/default/ad110d1/2147483647/strip/true/crop/5184x3456+0+0/resize/1154x769!/quality/90/?url=http://sothebys-brightspot.s3.amazonaws.com/dotcom/aa/3e/feafe1034c408cf92f0b47e5ca75/1965-aston-martin-db5-bond-car-simon-clay-c-2019-courtesy-of-rm-sothebys-4.jpg
  The smoke screen dispenser on the DB5 is engaged
  (Simon Clay © 2019 Courtesy of RM Sotheby’s)

  Since that time, a well-documented, no-expense spared restoration by Switzerland’s esteemed Roos Engineering was completed. Roos Engineering is one of 13 specialist facilities whom Aston Martin have appointed as official Heritage Specialists. Not only were the chassis and body completely refinished to proper standards, but all thirteen of the John Stears-designed Bond modifications were properly refurbished to function as originally built.
  
  The Bond DB5 will be on view at Sotheby's New York from 28 June through 31 July.

  
  
  
  
  

  2019: Esquire reports on an auction of James Bond's Rolex.

  

  James Bond's rarest Rolex is going up for auction

  It was worn by Sean Connery in James Bond's first proper film outing 'Dr. No'

  See the complete article here:
  

  https://www.esquireme.com/content/37926-james-bonds-rarest-rolex-is-going-up-for-auction

  15 August 2019 | Esquire Editors

  
  Rolex, James Bond, Sotheby's, Auction

  Along with extrajudicial killings and flagrant affairs, James Bond liked his watches.
  
  Very much so. From Ian Fleming's original imagining to the Roger Moore of Octopussy, 007 has enjoyed multiple watches including (but not limited to) Omega, Hamilton and Rolex. And a key Bond memento from the latter is now up for grabs at Sotheby's.
  
  As per the oral history of Dr. No, the Big Crown Submariner ref. 6538 was loaned to Sean Connery by producer Albert "Cubby" Broccoli: the closest relative to the Rolex Oyster Perpetual of Fleming's novels which, in fact, did not actually exist. The 6538 - a piece that ceased production in 1959 - has been considered something of a rarity ever since its starring role, and although Connery's specific wristwear isn't on auction, the model is still a highly desirable piece due to the big Bond connection.
  
  The vintage Rolex bit helps, too.

  

  The piece in question boasts several features that'd send an ardent horologist into self-destruct mode. First, there's the tropical dial, which has evolved into a chocolate brown shade over time. Once thought of as a ball drop on Rolex's part, it's since become a prized attribute by collectors. Moreover, text to the dial that proves the watch's COSC accreditation (that's the Contrôle Officiel Suisse des Chronomètres to non-watch folk - a sign of rigorous testing and accuracy) separates this particular piece from the first Big Crown Submariners. Hallmarks of collectability are in the detail, of which the the ref. 6538 has many.
  
  Fancy your chances? Well, you're not alone. With the piece expected to fetch between £149,000 to £232,000 at auction, there'll be serious competition to own a cousin of Bond's celluloid history. And if that wasn't enough, final prices regularly exceed estimates in lots of great rarity. Hurrah!

  
  2020: James Bond@007 recommends Relaxation Day.

  https://twitter.com/007/status/1294559453841424385

  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 15 Posts: 14,668

  August 16th
  
  1944: Maud Russell writes about Ian Fleming in her diary.

  

  Spies, affairs and James Bond... The
  secret diary of Ian Fleming's wartime
  mistress

  See the complete article here:
  

  https://www.telegraph.co.uk/women/life/spies-affairs-james-bond-secret-diary-ian-flemings-wartime-mistress/p/center]

  

  Wednesday 16 August, 1944
  
  Ian dined on Monday and did he breathe a word of the invasion of
  the Riviera which happened the next day? No, not a word, the beast.

  
  1952: Lieutenant-Commander Ian Fleming's service in the RNVR (Royal Naval Volunteer Reserve) Special Branch ends with his removal from the active list.
  1952: Ian Fleming types out a letter to wife Ann.

  "My love, This is only a tiny letter to try out my new typewriter
  and to see if it will write golden words since it is made of gold."

  
  
  

  
  1958: Madonna Louise Ciccone is born--Bay City, Michigan.
  
  1965: Daily Variety reports the filmmakers now consider filming one of eight Fleming novels, including On Her Majesty's Secret Service with an existing screenplay by Richard Maibaum.
  1966: The Times of London prints “Bulldog Drummond Was a Gentleman: Moral Decline Illustrated by James Bond.”
  
  1973: 鐵金剛勇破 黑魔黨 (Tiě jīngāng yǒng pò hēi mó dǎng; Iron King Mafia, or Iron King Kong Breaks the Black Devil) released in Hong Kong.

  
  

  1977: Spionen som elsket meg released in Norway.

  
  

  
  1982: Octopussy filming begins with Moneypenny at MI6.

  https://twitter.com/007/status/765580428061339648

  1984: Roger Moore and the cast of A View to a Kill are photographed at Chantilly, France.

  
  
  
  
  
  

  
  1985: Med doden i sikte (With Death in Sight) released in Norway.

  

  1989: Permis de tuer released in France.

  
  
  
  
  

  
  1995: Roger Moore comments on Pierce Brosnan in GoldenEye.

  "Both Sean Connery and I will be forgotten after everybody sees Pierce."

  
  
  
  
  

  
  2007: Fourteen cameras film the Palio di Siena horse race, Siena, Italy.
  
  2017: The press continue to overwhelmingly report Daniel Craig committing to BOND 25.
  2017: Dynamite Entertainment publishes James Bond Kill Chain #2.
  Luca Casalanguida, artist. Andy Diggle, writer.

  

  JAMES BOND: KILL CHAIN #2 (OF 6)

  https://www.dynamite.com/htmlfiles/viewProduct.html?PRO=C72513026017802011
  Cover A: Greg Smallwood
  Writer: Andy Diggle
  Art: Luca Casalanguida
  Genre: Action/Adventure, Media Tie-In
  Publication Date: August 2017
  Page Count: 32 Pages
  ON SALE DATE: 8/16

  As tensions rise between MI6 and CIA, James Bond investigates the death of a fellow agent. Someone is smuggling military-grade weapons to European neo-Nazis, an arms pipeline stretching from the gutters of Munich to the upper echelons of Swiss high society. The trail will lead 007 to an old friend, a deadly betrayal, and an enigmatic art connoisseur named Chantal Chevalier.

  
  
  
  
  
  
  
  
  
  

  
  2022: The Physics of James Bond at the Annual Meeting of the International Association of Applied Mathematics and Mechanics (GAMM) at RWTH Aachen University, Aachen, North Rhine-Westphalia, Germany.

  

  The Physics of James Bond

  See the complete article here:
  

  https://www.rwth-aachen.de/go/id/wihch?lidx=1#aaaaaaaaaawihdl

  08/08/2022
  
  RWTH to Host Annual Meeting of the International Association of Applied Mathematics and Mechanics (GAMM)
  
  The 92. Annual Meeting of the International Association of Applied Mathematics and Mechanics is scheduled to take place from August 15 to 19, 2022, at RWTH Aachen University. About 1,000 engineering researchers and applied mathematicians from all over the world are expected to attend the conference.

  As part of the conference, on Tuesday, August 16, 2022, there will be a public lecture by Professor Metin Tolan, President of the University of Göttingen (7:30 pm, H01, C.A.R.L. Lecture Hall Complex). Tolan will put the physics of James Bond to the test and provide you with insights into how X-ray glasses and magnetic watches work. He will also determine whether you can really drive across a frozen lake in a burning car and let you know whether the British Secret Service is prone to cheating.
  
  Aside from his research, Tolan is best known for his lectures as a science comedian and book author. For 13 years, the professor of experimental physics has been getting to the bottom of the engineering prowess of Bond’s gadget designer Q.

  Admission is free of charge and registration is not required.
  
  Further information: 92nd Annual Meeting of the International Society of Applied Mathematics and Mechanics

  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  August 16 Posts: 14,668

  August 17th
  
  1923: Julius Harris is born--Philadelphia, Pennsylvania.
  (He dies 17 October 2004 at age 81--Woodland Hills, Los Angeles, California.)

  

  Julius Harris, 81; Broke Stereotypes of Movie Roles for Black Actors

  See the complete article here:
  

  https://www.latimes.com/archives/la-xpm-2004-oct-22-me-harris22-story.html

  By Dennis McLellan, Times Staff Writer
  Oct. 22, 2004

  Julius Harris, the deep-voiced stage and screen actor who played the villainous Tee Hee in the James Bond film Live and Let Die and Ugandan President Idi Amin in the TV movie “Victory at Entebbe,” has died. He was 81.

  Harris, a former member of the Negro Ensemble Company in New York City, died of heart failure Sunday at the Motion Picture and Television Hospital in Woodland Hills.
  
  In an acting career that spanned four decades, Harris appeared in more than 70 film and television productions.
  
  He played such diverse roles as a preacher who headed a slave group in the 1982 Civil War miniseries “The Blue and the Gray” and a gangster in the 1972 blaxploitation film classic “Superfly.”
  
  “Even today, if I am walking in a black neighborhood, people call me by my ‘Superfly’ name -- Scatter,” Harris told The Times last October before being honored with a tribute by the Next Generation Council of the Motion Picture & Television Fund’s Legacy Film Series at the Directors Guild of America Theatre.
  
  “His work helped African Americans break out of stereotypical movie roles and be seen as dynamic heroes and fully realized human beings,” actress Halle Berry said in a taped introduction to Harris’ film work.
  
  A Philadelphia native whose mother was a Cotton Club dancer and whose father was a musician, Harris served as an Army medic during World War II. After leaving the service in 1950, he found work as an orderly and eventually became a nurse before moving to New York City.
  
  As a regular at a Greenwich Village bar, he became friends with James Earl Jones, Yaphet Kotto, Al Freeman, Louis Gossett Jr. and other actors, whom he teased for being out of work.
  
  “I would say to them, ‘You bums. You are always broke. What kind of actors are you? ... I can do your job with my arms tied behind my back,’ ” he recalled in The Times interview.
  
  To back up his claim, he landed the small role of Ivan Dixon’s drunk, defeated father in “Nothing but a Man,” a critically acclaimed 1964 film about black life in the South starring Dixon and Abbey Lincoln.
  
  “Not knowing the business, feeling I had to be in character, I got me a pint of bourbon, some of the worst rotgut stuff I could get,” Harris said.
  
  When he arrived on the set, the producer and director took one look at him and said, “We can’t do anything with you today, Julius, but if you are the man we think you are, you’ll come back tomorrow.”
  
  Harris said: “I was so embarrassed. So I went back home, sobered up and came back the next day and did the master [shot] in [one] take and close-ups in two [takes] and went home.”
  
  In his review of the film, The Times’s Kevin Thomas deemed Harris’ performance superb.
  
  He is survived by his children, Kimberly and Gideon.
  
  A private memorial service will be held.

  

  Julius Harris (1923–2004)

  https://www.imdb.com/name/nm0364918/?ref_=nv_sr_1?ref_=nv_sr_1
  
  Filmography

  Actor (92 credits)
  
  1997 ER (TV Series) - Gramps
  - Random Acts (1997) ... Gramps
  1996 The Burning Zone (TV Series) - Tribal Shaman
  - The Silent Tower (1996) ... Tribal Shaman
  1994 Shrunken Heads - Mr. Sumatra
  1993 The Gifted
  1993 Maniac Cop 3: Badge of Silence - Houngan
  1992 The Boys (TV Movie) - Doc
  1992 Eerie, Indiana (TV Series) - Prop Man
  - Reality Takes a Holiday (1992) ... Prop Man
  1992 Jake and the Fatman (TV Series) - James Allan Chester
  - Pennies from Heaven (1992) ... James Allan Chester
  1992 Grave Secrets: The Legacy of Hilltop Drive (TV Movie) - Elderly Farmer
  1991 Last Breeze of Summer (Short) - The Reverend
  1991 Civil Wars (TV Series) - Judge Adams
  - Pilot (1991) ... Judge Adams
  1991 Murder, She Wrote (TV Series) - Jack Lee Johnson
  - Judge Not (1991) ... Jack Lee Johnson
  1991 Harley Davidson and the Marlboro Man - Old Man
  1991 The Golden Girls (TV Series) - Mr. Lewis
  - Older and Wiser (1991) ... Mr. Lewis
  1990 Prayer of the Rollerboys - Speedbagger
  1990 Dragnet (TV Series) - Mr. Leyland
  - Living Victim (1990) ... Mr. Leyland
  1990 Darkman - Gravedigger
  1990 To Sleep with Anger - Herman
  
  1989 1st & Ten (TV Series) - Willie Buck Newton
  - The Irreducible Bottom Line (1989) ... Willie Buck Newton
  1989 Friday the 13th: The Series (TV Series) - Simpson
  - The Butcher (1989) ... Simpson
  1988 Split Decisions - Tony Leone
  1987 Frank's Place (TV Series) - Mr. Kicks
  - Cool and the Gang: Part 2 (1987) ... Mr. Kicks
  - Cool and the Gang: Part 1 (1987) ... Mr. Kicks
  1987 A Gathering of Old Men (TV Movie) - Coot
  1987 Outlaws (TV Series) - Butch
  - Primer (1987) ... Butch
  1986 The Love Boat (TV Series) - Minister
  - The Shipshape Cruise (1986) ... Minister
  1986 Capitol (TV Series) - Papa Nebo
  - Episode dated 6 October 1986 (1986) ... Papa Nebo
  1986 Hollywood Vice Squad - Jesse
  1983-1986 Cagney & Lacey (TV Series) - Sgt. Major Brennan / Bardo
  - Post Partum (1986) ... Sgt. Major Brennan
  - The Grandest Jewel Thief of Them All (1983) ... Bardo
  1986 My Chauffeur - Johnson
  1985 Amazing Stories (TV Series) - Joe
  - Mr. Magic (1985) ... Joe
  1985 Crimewave - Hardened Convict
  1985 Hollywood Wives (TV Mini-Series) - Reverend Daniel
  - Episode #1.1 (1985) ... Reverend Daniel
  1984 The Jeffersons (TV Series) - Rev. Taylor
  - They Don't Make Preachers Like Him Anymore (1984) ... Rev. Taylor
  1984 Benson (TV Series) - Uncle Buster
  - The Reunion (1984) ... Uncle Buster
  1984 Booker (TV Movie) - Lee
  1984 Gone Are the Dayes (TV Movie) - Man #1
  1984 The Enchanted - Booker T
  1984 Hart to Hart (TV Series) - Krohn
  - Slam Dunk (1984) ... Krohn
  1983 Going Berserk - Judge
  1983 Missing Pieces (TV Movie) - Spencer Harris
  1983 St. Elsewhere (TV Series) - Earl
  - Graveyard (1983) ... Earl
  1981-1982 Simon & Simon (TV Series) - Jules / Montgomery
  - Thin Air (1982) ... Jules
  - The Least Dangerous Game (1981) ... Montgomery (as Julius W. Harris)
  1982 Voyagers! (TV Series) - Auctioneer
  - The Travels of Marco... and Friends (1982) ... Auctioneer
  1982 The Blue and the Gray (TV Mini-Series) - Preacher / Swamp Preacher
  - Part 3 (1982) ... Preacher (credit only)
  - Part 2 (1982) ... Preacher
  - Part 1 (1982) ... Swamp Preacher (credit only)
  1981 Full Moon High - Hijacker (uncredited)
  1981 Circle of Power - B.B.
  1981 Thornwell (TV Movie) - Frisco
  1980 First Family - Ambassador Longo
  1980 Gorp - Fred the Chef
  
  1979 Uptown Saturday Night (TV Movie) - Geechie Dan
  1979 Delta Fox
  Tiny (as Julius W. Harris)
  1979 The Incredible Hulk (TV Series) - Doc Alden
  - The Slam (1979) ... Doc Alden
  1978-1979 Insight (TV Series) - Baggott / Avry
  - Plus Time Served (1979) ... Baggott
  - The Flawed Magi (1978) ... Avry
  1979 Vega$ (TV Series) - Yancy
  - Kill Dan Tanna! (1979) ... Yancy
  1978 B.J. and the Bear (TV Series) - Colonel Whitmore
  - The Foundlings (1978) ... Colonel Whitmore
  1978 To Kill a Cop (TV Movie) - Detective Baker
  1978 The Hardy Boys/Nancy Drew Mysteries (TV Series) - Mr. Dove
  - Voodoo Doll, Part II (1978) ... Mr. Dove
  - Voodoo Doll: Part 1 (1978) ... Mr. Dove
  1978 Ring of Passion (TV Movie) - Chappie Jackson
  1977 The Fat Albert Christmas Special (TV Short) - Mr. Tyrone (voice)
  1977 Kojak (TV Series) - Joe Addison
  - Once More from Birdland (1977) ... Joe Addison
  1977 Looking for Mr. Goodbar - Black Cat
  1977 Alambrista! - 2nd Drunk
  1977 Visions (TV Series) - Second Drunk
  - Alambrista! (1977) ... Second Drunk
  1977 Islands in the Stream - Joseph
  1977 Sanford and Son (TV Series) - Doctor
  - The Will (1977) ... Doctor
  1976 Good Times (TV Series) - Ben Foster
  - Florida's Night Out (1976) ... Ben Foster
  1976 Victory at Entebbe (TV Movie) - President Idi Amin (as Julius W. Harris)
  1976 King Kong - Boan
  1976 Rich Man, Poor Man (TV Mini-Series) - Augie
  - Part II: Chapters 3 and 4 (1976) ... Augie
  1975 Friday Foster - Monk Riley
  1975 Ellery Queen (TV Series) - Doyle the Butler
  - The Adventure of the Mad Tea Party (1975) ... Doyle the Butler
  1975 Let's Do It Again - Bubbletop Woodson
  1975 Doctors' Hospital (TV Series) - Tolan
  - Knives of Chance (1975) ... Tolan
  1975 Cannon (TV Series) - Millner
  - Search and Destroy (1975) ... Millner
  1975 A Cry for Help (TV Movie) - George Rigney (as Julius W. Harris)
  1975 Harry O (TV Series) - Arthur 'Art Sully' Daniels
  - Sound of Trumpets (1975) ... Arthur 'Art Sully' Daniels
  1974-1975 Salty (TV Series) - Clancy
  - The Vigil (1975) ... Clancy
  - To Taylor from Salty with Love (1975) ... Clancy
  - Sentimental Value (1975) ... Clancy
  - A Sense of Worth (1975) ... Clancy
  - Scape Goat (1974) ... Clancy
  ... 20 episodes
  1974 The Taking of Pelham One Two Three - Inspector Daniels
  1973 Blade - Card Player
  1973 Hell Up in Harlem - Papa Gibbs (as Julius W. Harris)
  1973 Shock-a-bye, Baby (TV Movie)
  1973 The Bob Newhart Show (TV Series) - Mr. Billings
  - Blues for Mr. Borden (1973) ... Mr. Billings
  1973 Salty - Clancy Ames (as Julius W. Harris)
  1973 Live and Let Die - Tee Hee (as Julius W. Harris)
  1973 Black Caesar - Mr. Gibbs (as Julius W. Harris)
  1972 Trouble Man - Big
  1972 Super Fly - Scatter (as Julius W. Harris)
  1972 Shaft's Big Score! - Capt. Bollin (as Julius W. Harris)
  1971 Incident in San Francisco (TV Movie) - Henry Carter
  
  1969 Slaves - Shadrach
  1968-1969 N.Y.P.D. (TV Series) - Hector / Banks
  - Candy Man: Part 2 (1969) ... Hector
  - Candy Man: Part 1 (1969) ... Hector
  - Which Side Are You On? (1968) ... Banks
  1964 Nothing But a Man - Will Anderson

  
  
  
  
  
  
  

  
  1964: CBC-TV Explorations airs Ian Fleming: The Brain Behind Bond, the author's last recorded interview.

  

  Ian Fleming: the brain behind Bond

  See the complete article here:
  

  https://www.cbc.ca/player/play/1856624190

  56 years ago Archives 27:16
  
  Explorations airs an intimate chat with James Bond creator Ian Fleming.
  

  See it here:
  

  https://www.cbc.ca/player/play/1856624190/

  

  
  

  

  Ian Fleming: The Brain
  Behind Bond

  https://www.imdb.com/title/tt1327351/trivia?ref_=tt_ql_2
  27min | Documentary | Episode aired 17 August 1964
  
  Trivia

  This interview was first broadcast by CBC-TV's Explorations five days after Ian Fleming passed away.

  1968: Helen Elizabeth McCrory is born--Paddington, London, England.
  (She dies at 16 April 2021 at age 52--London, England.)

  

  Helen McCrory, British ‘Skyfall’ and
  ‘Harry Potter’ Actress, Dies at Age 52

  ‘GO NOW, LITTLE ONE’

  See the complete article here:
  

  https://www.thedailybeast.com/helen-mccrory-british-skyfall-and-harry-potter-actress-dies-at-age-52

  Cheyenne Roundtree | Entertainment Reporter
  Published Apr. 16, 2021 12:18PM ET

  
  Photo: Stuart C. Wilson

  British actress Helen McCrory has died of cancer at age 52 surrounded by family, her husband, actor Damian Lewis, announced Friday. “I’m heartbroken to announce that after a heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died peacefully at home, surrounded by a wave of love from friends and family,” he wrote on Twitter. “She died as she lived. Fearlessly. God we love her and know how lucky we are to have had her in our lives. She blazed so brightly. Go now, Little One, into the air, and thank you.” Lewis and McCrory had been married for 14 years, with 14-year-old daughter Manon and 13-year-old son Gulliver.

  With more than 72 acting credits to her name, McCrory was best known for her roles in Peaky Blinders, the Harry Potter franchise, and the James Bond movie Skyfall.

  

  Helen McCrory (1968–2021)

  Actress
  https://www.imdb.com/name/nm0567031/?ref_=nv_sr_srsg_0
  

  
  
  
  

  
  1973: Live and Let Die released in Ireland.
  1979: Kuuraketti (Swedish: Månraketen, Moon Rocket) released in Finland.

  

  
  Not to be confused with:

  
  
  

  1979: Måneraketten released in Norway.

  
  

  
  1984: Albert R. Broccoli is photographed with Bond Girls, Bond.

  
  

  
  1999: The World Is Not Enough films OO7 leaping from a Swiss banker's office to ground level.

  https://twitter.com/007/status/898212835951390720

  1999: Desmond Llewelyn launches the James Bond 007: A License To Thrill motion simulator, Trocadero, London.

  

  License to Thrill (1999)

  4min | Short, Action | 1999 (USA)
  https://www.imdb.com/title/tt0853249/

  Motion Simulator Ride Film. POV James Bond as he rides a motorcycle, shoots it out with bad guys, leaps onto the trailing ladder of a helicopter from a moving train, dodges bullets and explosions, finally landing on a jet ski and saving the kidnapped girl. The most complex live action ride film ever made.
  —Keith Melton (original work)

  Full Cast & Crew
  Directed by Keith Melton
  Writing Credits (in alphabetical order)
  Gary Goddard ... (writer)
  Ty Granoroli ... (writer)
  Cast
  Judi Dench ... M (Barbara Mawdsley)
  Desmond Llewelyn ... Q
  Sonny Surowiec ... Lead
  Brian Rogers ... producer
  Cinematography by Suki Medencevic
  Film Editing by Harry B. Miller III
  Art Direction by Andrew Max Cahn
  Sound Department
  James Fielden ... re-recording mixer / supervising sound editor
  Stunts
  Laura Albert ... stunts
  Sonny Surowiec ... stunt performer
  Camera and Electrical Department
  Pat O'Mara ... grip
  Max Penner ... camera operator
  Music Department
  James Fielden ... music editor
  Gary Guttman ... composer: additional music
  Script and Continuity Department
  Katalin Rogers ... script supervisor (as Katalin Kovacs Rogers)
  Other crew
  Curtis DeMartini ... production assistant

  

  James Bond 007: A License To Thrill
  (partially found motion simulator ride;
  1998-2002)

  https://lostmediawiki.com/James_Bond_007:_A_License_To_Thrill_(partially_found_motion_simulator_ride;_1998-2002)
  

  
  
  
  

  
  2005: The Denver Post reports on Pierce Brosnan talking to Entertainment Weekly about leaving the Bond role.

  

  “Bond” days over for Brosnan
  

  See the complete article here:
  

  https://www.denverpost.com/2005/08/17/bond-days-over-for-brosnan/

  
  Pierce Brosnan takes aim as James Bond in Die Another Day.
  By The Associated Press

  PUBLISHED: August 17, 2005
  
  New York – A single, surprising phone call and it was over.
  
  That’s how Pierce Brosnan says he learned that his services as James Bond would no longer be required.

  “One phone call, that’s all it took!” the 52-year-old actor tells Entertainment Weekly magazine in its Aug. 19 issue.

  Brosnan starred in four Bond films. He says that before they stopped negotiations, the producers had invited him back for a fifth time.

  “You know, the movie career for me really started with Bond,” says Brosnan, acknowledging that by the time GoldenEye premiered in 1995, he was already 42.

  He then starred as 007 in Tomorrow Never Dies (1997), The World Is Not Enough (1999) and Die Another Day (2002).

  His departure from the role was a “titanic jolt to the system,” says Brosnan, followed by “a great sense of calm.” “I thought. … I can do anything I want to do now. I’m not beholden to them or anyone. I’m not shackled by some contracted image. So there was a sense of liberation.” Brosnan says he’s grateful to have had the role, but adds: “It never felt real to me. I never felt I had complete ownership over Bond. Because you’d have these stupid one-liners – which I loathed – and I always felt phony doing them.” He plays a foulmouthed, skirt-chasing hit man in the upcoming film The Matador. “(For this) to come on the heels of my departure from the world of Bond is sweet grace, to play this one as a farewell to that chapter in time – it certainly wasn’t planned.”

  

  
  2010: Pegasus Books releases James Bond: Choice of Weapons: Three 007 Novels collecting Raymond Benson's Zero Minus Ten, The Facts of Death and The Man With The Red Tattoo. Plus short stories "Live at Five" and "Midsummer Night's Doom."

  
  
  

  2015: Premiere of the OMEGA Seamaster 300 Spectre Limited Edition wristwatch.

  
  
  
  
  

  
  2016: Dynamite Entertainment releases James Bond #9 Eidolon Part Three.
  Jason Masters, artist. Warren Ellis, writer.

  

  JAMES BOND #9

  https://www.dynamite.com/htmlfiles/viewProduct.html?PRO=C72513024181809011
  Cover A: Dom Reardon
  Writer: Warren Ellis
  Art: Jason Masters
  Genre: Action/Adventure, Media Tie-In
  Publication Date: August 2016
  Format: Comic Book
  Page Count: 32 pages
  ON SALE DATE: 8/17

  EIDOLON, Part Three: Bond is sent to breach a secret base in the depths of England, alone, without back-up, and fully deniable: a place from Cold War history, with only one way in and one way out, while the forces of security services all over the world are seemingly ranged against MI6, and all Bond has is his gun and a few pieces of a bloody, dark puzzle...

  
  
  
  
  
  
  
  

  
  2020: James Bond @007 promotes two new Aston Martins.

  https://twitter.com/007/status/1295344634303057921

  
  
  
  
  https://www.autoexpress.co.uk/352984/new-aston-martin-vantage-and-dbs-superleggera-007-edition-celebrates-no-time-die-james-bond
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  
  
  

  
  2022: Pelorus offers tailored Bond travel packages.

  

  This New 007-Inspired Travel Package Lets You Go
  on James Bond ‘Missions’ Around the Globe
  From disarming explosives in Greenland to sipping martinis in Venice.

  See the complete article here:
  

  https://robbreport.com/travel/destinations/travel-experience-james-bond-fantasy-1234738720/

  By Dana Givens

  

  If you’ve ever fantasized about playing the world’s most famous spy, Pelorus wants to make your dreams come true.
  
  The travel company has unveiled a collection of James Bond-inspired packages promising to give travelers their very own James Bond adventure. The experiences, tailored to emulate 007’s greatest cinematic missions, were created in honor of the latest Bond flick, No Time To Die.
  
  The collection offers four 007 “missions”—should you choose to accept them. One adventure will have you disarming “explosives” while traveling across frozen waters in Greenland for 12 days. On another you’ll sail on a 10-day excursion from the Andaman Sea to the Surin Islands in Thailand. You can also embark on a high-speed supercar race in the Scottish highlands for an extended weekend, or you can head to the Dolomites and Venice to sip martinis, Bond style.

  “Pelorus can craft bespoke experiences from the luxurious to the high octane to bring out your inner Bond,” Elise Ciappara, Pelorus’s head of yacht expeditions, wrote in an email Robb Report. “We can tailor experiences to allow you to step into the shoes of Bond anywhere in the world.”

  Experiences include traveling Greenland’s frozen tundra to disarm “explosives” with your own team.

  
  Giuseppe Ghedina/Pelorus

  After your spy work is done for the day, you’ll be able to relax in comfort. All experiences include five-star accommodations, ranging from private buy-outs at a lavish hotel to a private chateau. And when it comes time to eat, you’ll be treated to the services of a personal chef, who will create a custom menu based on your rarified preferences.
  
  Rates for the trips vary, depending on the expedition you choose. Greenland’s frozen tundra costs $500,000 for a group of 12 people, while the voyage to the Surin Islands start at $12,000 per person. (Neither experience includes the cost of your yacht charter.) For supercar driving in Scotland, rates start at $15,000 for two people, and the voyage to the Dolomites and Venice starts at $10,000 per night.
  
  Your move, Mr. Bond.

  
  
  

  
  
  
  
• MSL49 Finland

  11:06am Posts: 443

  It didnt take long when they started screentest after they didnt continue with Brosnan.