007 Issue 44

Odeon Leicester Square 1989 1 2 4 3 OPPOSITE PAGE: Graham Rye shows off the newly renovated Moon Buggy for a photo-session at Pinewood Studios in 1993. THIS PAGE: 1. Once again the Odeon Leicester Square hosts a new Bond film. 2. Graham Rye and Andrew Pilkington chat with Michael G. Wilson after the press show of Licence To Kill, as the Evening Standard’s film critic, the late Alexander Walker (left) exits the Odeon. 3. Much to the appreciation of 5 6 7 the fans, Cubby Broccoli signs autographs. 4. No one realised at the time that we wouldn’t see another James Bond film for another six years – and that Timothy Dalton would not be returning in the role. 5. Michael G. Wilson signs an autograph for a JBIFC member. 6. Do Bonds Have More Fun? As usual the promotional machine was in full swing for the latest Bond film and the majority of the glossy monthly magazines covered Licence To Kill.Tatler even promoted their Bond-related issue (an interview with Talisa Soto) on the giant Mills & Allen rotating advertising billboards. 7. Graham Rye signs copies of his book The James Bond Girls for members ADVENTURES of The JBIFC in the foyer of the Odeon Leicester Square. IN THE FAN TRADE For 25 years “Ah, the real James Bond!” The James Bond International Fan Club and ‘OO7’ MAGAZINE have consistently ate and happenstance sent a copy of my James Bond the matinee performance of copies to recoup all my production often conspire to shape a Girls book to him at Casa Bertrand Tavernier’s These costs and then some. As intended, the set the standard in James Bond magazine Fperson’s life. A man walks Malibu in Spain, and had organ- Foolish Things, which was playing publication proved to be a great suc- to work every day using the ised the Thunderball 25th literally just round the corner at cess with the media, and many edito- same route but on a Thursday Anniversary screening in 1990 the Curzon Cinema. We said rial departments and freelance jour- publishing, special events, archiving, and a he decides to take a short cut with Terence Young, his face cheerio, but before he and nalists purchased copies as an invalu- and turns left and finds an aban- softened as I explained to him Micheline could make it round able research source. unique range of OO7 products. doned briefcase stuffed with and Micheline, rather cheekily, the corner into the cinema, two On one of my visits to Leavesden fifty-pound notes. However, on girls from an office across the Studios during the shooting of GRAHAM RYE continues his personal journey turning right the piano falling road rushed over to get his GoldenEye I was fortunate to spend from a third story window autograph, he obliged - and was some time visiting with Pierce through a quarter century of would certainly have killed him. gone. When I arrived at EON’s Brosnan. Unit publicist Geoff Life can be like that sometimes. office I told Amanda Schofield Freeman kindly took me down to innovation and determination – and when For one of my meetings at and the other girls,“You’ll never Pierce’s dressing room and knocked EON Productions I decided to guess who I’ve just bumped into on the door. No answer. Geoff opened necessary, sheer bloody-mindedness, catch a black cab from – Sean Connery!” I don’t think the door, led me in and promptly left Waterloo to their then offices they believed me. Life can be me to it. I moved into the large in South Audley Street, rather like that sometimes. makeshift room rather gingerly, not to show that still… than take the usual more eco- wanting to intrude, turned the corner nomic route via the tube to With GoldenEye on and found Pierce dressed in his com- …NOBODY DOES IT BETTER! Green Park and walk the final 1995 the horizon, the bat fatigues leaning backwards in a quarter mile. Having the taxi first Bond film in chair against the wall on the tele- stop near the end of Curzon six years, I knew phone, “Ah, the real James Bond!” he Street, a short walk across the enquiries to our offices would be over- joked. He gestured for me to take a PART II – 1995-2004 road from South Audley Street, whelming. Damn the expense – it was seat, finished his phone call and I glanced to my left as I paid the time to hire a personal assistant or die immediately said, “So tell me about cab driver and was amazed to from overwork! During this period, this Moon Buggy then!” I was see that Sean and Micheline for my sins, I also compiled and pub- amazed. He’d obviously read some of Connery were walking towards that I was on my way to a meet- lished ‘The James Bond OO7 Fan the content of The JBIFC/EON pro- “The world is divided into two classes; me down the street. This was ing with his former employers Club & Archive Fact File’, a 198-page posal dossier I’d sent him. We chat- an opportunity too unbeliev- EON Productions, at which he spirex-bound reference guide to every- ted for quite a while about all kinds of those who believe the incredible, able to ignore. As I approached arched his left eyebrow (as only thing the media wanted to know stuff until he politely excused himself and those who do the improbable.” the couple to introduce myself I he can) and said,“I wish you the about James Bond but didn’t know to get ready for make-up as he was quickly read the expression very best of luck!” He shot his what to ask! Having sent sample sec- needed on set again soon. On other Oscar Wilde coming over Mr Connery’s face cuff and pointed to his watch, tions to MGM Home Video (UK) for visits to the studio I also watched him – ‘Oh no here we go again!’ explaining politely that he and their perusal against possible sales, filming some insert shots, and my last- However,when I explained I had Micheline were trying to catch they promptly purchased enough ing impression of the time spent with oo28 oo29 The National Film Theatre 1990/1992 Pinewood Studios 1990 2 1 2 3 3 OPPOSITE PAGE: 1. Attending The JBIFC’s 6 1990 Thunderball 25th anniversary 5 screening at the NFT were (left to right): John Stears, Terence Young, Mollie Peters, Syd Cain, Maurice Binder, and George Leech. 2. Terence addresses the NFT audi- ence. 3. Maurice Binder chats with Mollie 1 Peters. 4. Graham Rye presents Mollie 4 with a bouquet of flowers at the special 4 after-screening dinner. 5. Graham Rye interviews Syd Cain, George Leech and Wing Commander Ken Wallis on stage at the NFT in 1992. THIS PAGE: 1. John Stears poses with a replica of ‘The Most Famous Car In The World’ at the 1990 JBIFC Convention. 2. John and the model of Scaramanga’s flying car. 3. John with his Pinewood SFX 7 team members, Bert Luxford (left) and Joe Fitt. Sadly Joe died in January 2002, and Bert in March 2003. 4. John fits the 1 5 rockets to Fiona’s BSA motorbike at Silverstone for Thunderball (1965). 5. John behind the wheel of that car! 6. On a freezing day in France, John Stears listens to director Terence Young, while Kevin McClory (behind) and Bert Luxford and Ken Adam also pay attention for Thunderball (1965). 7. Bert Luxford with John’s model helicopter 4 made for From Russia With Love (1963). JOHN STEARS (1934–1999) ‘See Paris and die. And I very nearly did!’ SPECIAL EFFECTS WIZARD EXTRAORDINAIRE! him was of a very pleasant and gen- many amateur James Bond-related in part to our research facilities. Also during 1996 I was hired to we ever featured, with Christopher An edited version of the follow- back to the 1950s you probably had because SFX is a very broad spec- uine man who couldn’t quite believe clubs, associations and foundations Unusually, the majority of these stu- design and produce the licensed cal- Lee, Guy Hamilton, Shirley Eaton, ing conversation with John five SFX (special effects) men, optical trum. Having said that I still do the his luck. However, his new-found suc- operating, and also to emphasise the dent enquiries came from young endars ‘The Official James Bond 007 Tania Mallet, Norman Wanstall, Lois Stears originally appeared in people also being included in that whole range of SFX but have no cess seemed tinged with a tangible air aspect of our growing global member- women. 1997 Calendar’ and ‘The Glamorous Maxwell, and Desmond Llewelyn. ‘OO7’ issue #13, June 1983. number.You’d work on a film and be qualms about bringing in experts to of sadness because his late wife ship, which pleasingly, was always Early in 1996 I was approached World of 007 Calendar 1997’ for the For the first time we had a major ANDREW PILKINGTON spoke involved in bits and piece because FX do various bits and pieces. I have an Cassandra wasn’t able to share it with reflected in the attendees at our to consult on and design a 40,000 company Slowdazzle Worldwide. problem at one of our events. We with the two-time Oscar-win- (effects) then were not regarded overall knowledge of FX – so I can, him. events. The JBIFC Archive also square foot exhibition entitled ‘The Both my client and I were pleased almost had a mutiny on our hands ning special effects technician with the importance they are today.

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