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I certainly hope you get the opportunity. I hope the Best of Bond showings were a success here and that maybe they'll do it again sometime. After all they now have the 4K digital copies of all the films and even our little cinema where I live has converted to digital presentation.
Apparently in 2012 there was a Goldfinger exhibit in New York. :)
Info below copied from abovementioned website:
The title sequence was conceived, designed, and directed by graphic designer Robert Brownjohn (1926-1970). His title sequence was one of the earliest examples of a title that was distinct from the overall art direction of the film and succinctly evokes the themes and narrative to follow.
Brownjohn had previously designed the title sequence for 1963’s From Russia With Love (the credits were projected onto belly dancing models). For Goldfinger, he carefully arranged projected scenes from the film with different shots and body parts of Margaret Nolan, who was gold-painted and wore a golden leather bikini. The result was a dreamscape anticipating the glamour and excitement of the film to come, and featuring blackly humorous moments like a golf ball rolling into Nolan’s cleavage and a license plate covering her mouth like a gag. Brownjohn had experimented at length with camera angles and projected lighting in a darkened studio with Margaret Nolan in preparing the title sequence. Brownjohn preferred doing it all with the camera; he hated storyboards and scripts.
We shall be continuing our dissection, discussion of Goldfinger for another couple of days.
However, I'd like to sidestep a moment as I've just discovered a new book. It was published this October and is 704 pages long. Maybe some of you have it already? If so, please let us know what you think of this one. The title is: Some Kind of Hero – The Remarkable Story of The James Bond Films
The following excerpt if from our own member, Mark O'Connell's site. He gives a detailed, full synopsis of this new book. Found here: http://markoconnell.co.uk/and-the-bond-played-on-reviewing-some-kind-of-hero/
As many of you know, Mark wrote his own book, Catching Bullets – Memoirs of a Bond Fan, which is definitely recommended!
So here (in part, not all of his review) is Mark O'Connell giving us a well rounded view of what this huge, new book on Bond films is about, what kind of book it is:
(I think all of this is worth reading due to Mark's details; I did bold part, but if you have time read all of this)
************************
Broken into chronological chapters surrounding each film and using pertinent title song lyrics to suggest the essence of every 007 movie, these instalments not only sound like Ian Fleming titles, they also pay coy tribute to the relevant production context up for discussion. ‘I Must Return’ from Bond’s second movie From Russia With Love says it all and ‘From The Shadows As A Child’ for GoldenEye perfectly pitches how this was the film which producer Barbara Broccoli particularly came wholeheartedly into her own as co-producer (though, as Hero, rightfully underscores – she was always involved).
But this is not a wholly linear look at the films themselves. Chowdhury and Field’s mission here is not just to detail a biography of 007 film production, but what happened in-between. The story of Bond onscreen is equally the story of what never made it to the screen. And why.
Field and Chowdhury provide chapters looking at Ian Fleming and the genesis of Bond onscreen (and the genesis of Fleming’s vision for an onscreen Bond – often very different kettles of killer piranhas), the mid Sixties Bond mania, Never Say Never Again bit Connery as much as the Broccolis, how the once prized Broccoli / Saltzman dynamic came to an end and how Bond had to steer his very existence through it, what happened in that six year gap of no Bond movies between 1989 and 1995 (Bond was once again steering for his life) and how exactly Timothy Dalton’s third 007 outing could have panned out if the fates and timings had allowed. Granted access to both the scripts and the luxury of hindsight, Some Kind of Hero looks at the proposed production mechanics for Bond ’91, its story beats and what might have been the third of a Dalton trilogy. The delicious prospect of it being a Cubby, Barbara and Michael Wilson co-produced effort is one of many tragic could have beens.
Likewise, the book pores over Die Another Day’s aborted Jinx spin-off, how director Stephen Frears was very keen, how it was hoped Javier Bardem could be cast as Halle Berry’s love interest, how the movie’s eventual cancellation was a body blow to Barbara Broccoli and the Bond team and how – as Some Kind of Hero knows too well – the experience was possibly vital for EON Productions and the path and thinking that led ultimately into 2006’s critical darling, Casino Royale.
Some Kind of Hero is as much about the publically unknown, but vital “legendary fixers”, those men nicknamed “Mr Fixit”, how EON carefully “promotes from within”, the casting accidents, stolen conversations at drinks parties and how it is not just the Swiss Alps which Bond has had to navigate in an emergency – it has been Swiss financial and tax laws too. Field’s PR experience shows in the delicious detailing of budgets, casting solutions, script revisions and location incidents. Likewise, Chowdhury’s legal penchants showcase how the story of EON Productions is as much the story of protected legalities, defended creative rights and safeguarding business shares as it is James Bond 007.
Of course those fans and readers desperate for new insights, facts and anecdotes will not be disappointed. Even the most 007-marinated scholar will easily find something new to illuminate their own knowledge. For instance, the lyrics to You Only Live Twice‘s title song were written in Kirk Douglas’s study, Connery lent his voice to a Chaplin film, an early draft of the Moonraker screenplay featured a “bow and arrow wielding heroine” called The Archer, Priscilla Presley was nearly in a Bond movie, screenwriter Richard Maibaum would always first write his scripts in longhand, the [then] studio and Hollywood race politics tried to leave black actor Yaphet Kotto out of the press junkets for Live and Let Die and George Lazenby was nominated for a Golden Globe way before Adele got hers. And this is – as Pierce Brosnan might never say again – merely the tip of the iceberg.
For this writer, it is the colour provided by secretaries, publicists, title designer Maurice Binder’s assistants, un-credited technicians, John Barry’s backroom panics, location scouts, agents, second editors, the studio memos, curt letters and the Mayfair haunts of Broccoli and Saltzman where this work really comes alive. This is not a book obsessed by the inaugural years of Bond and Eon off Curzon Street, but by Lord it recounts them lovingly and with an attention to detail the whole book echoes.
From the start, Chowdhury and Field say they “have deliberately refrained from reviewing the films”. And they don’t. But Some Kind of Hero is still replete with opinion, of support for the Bond movie making machine as well as – more importantly – an understanding of it. Amidst the slavish footnoting and references, the pair make curious, but shrewd observations about the Bond films. An example close to Catching Bullets – Memoirs of a Bond Fan’s heart is less that my book’s ‘co-star’ and grandfather Jimmy O’Connell gets a kind acknowledgement but more that – despite its detractors – 1985’s A View to a Kill is correctly circled for being one very close to the Broccoli family.
~~~
This is a book that makes concerted efforts to underline how it is not an official publication. And because it is not, it has the wider freedom to sketch out some of the working arguments, fatigued collaborations and personal politics at play over the years. Yet it does so throughout with reverence, respect and that crucial understanding of how movie people and their decisions tick – all the while knowing that Bond movie people maybe tick differently to the rest. The Bond behemoth has – inevitably – had its victims. Some Kind of Hero doesn’t shy from that and lets folk tell their opinions of events. But the Bond circus has also had plenty more victors – and none more so than the global audiences lapping up the current Bond, Daniel Craig. The now is very important to this book – especially since Skyfall‘s validating hold on the public and cultural zeitgeist. Field and Chowdhury willfully steer their efforts to educate and illuminate we are now where we are with Bond because of what went before. Theirs is not a Sixties glory days love-fest or an Eighties bashing preach. It is forever remembering that Bond is now the world’s “Rolls Royce standard” of movie making.
*************************
Thanks for that, Mark. It gives us a good idea of what to expect this with book. :-bd
If anyone would like to mention their favorite book on Bond, please do so. We are still, over the next couple of days anyway, enjoying Goldfinger (SirHenry's favorite Bond film) - so discussion about Goldfinger continues, but also any thoughts about books written on the Bond films are welcome at this time.
He was awesome, always on point, he had impecable taste and he was a gentleman. I often find myself reading threads and missing him terribly or just wondering what he would say in certain situations. Like when some smart ass shows up bashing certain films or certain actors, you know what I mean /:) Yesterday I missed him for a different reason, as I sat in the theatre waiting for SP to start and hoped he had lived to see it and as the credits rolled in the end I wished he was here so that we could talk and talk about it. More than anything I wish he was still alive even if he was not here with us!
I raise my glass to Sir Henry, may you live forever in our hearts
And we will of course continue to welcome all ongoing tributes, and sharing of fond memories of our SirHenry/Greg Ferrell (whose birthday was Nov. 4th). Cheers!
Goldfinger Trivia Notes
Sean Connery never traveled to the United States to film this movie. Every scene in which he appears to be in the USA was filmed in Pinewood Studios outside London. This explains why Bond flips a light switch down to discover the golden corpse of Jill, as English light switches are generally turned on by flicking them down instead of up.
The sign on Ft. Knox bears the name "Gen. Russhon". Charles Russhon was the technical advisor for the film.
Cec Linder was the only actor from the cast who was actually in Florida for the Miami sequences. Sean Connery was in the midst of shooting of Alfred Hitchcock's Mânî (1964) and was unable to be on the Goldfinger set at the time.
Sean Connery's first day of filming was 19 March 1964 at Stage D, Pinewood Studios for shooting of the South American El Scorpio Nightclub opening sequence.
The movie was the fastest grossing picture in film history when it was released and was entered into the Guiness Book of World Records.
Pussy Galore introduces herself to Bond, who replies "I must be dreaming." The original script had Bond replying "I know you are, but what's your name?" This was deemed too suggestive.
Goldfinger wears yellow or a golden item of clothing in virtually every scene. In the one that he appears not to - in which he wears a US Army Colonel's uniform - he carries a golden revolver.
Honor Blackman quit her role as Cathy Gale on The Avengers (1961) to appear in Goldfinger. A 1965 episode of The Avengers (1961) made sly reference to this by having John Steed receive a Christmas card from Cathy Gale - sent from Fort Knox.
Producers Harry Saltzman and Albert R. Broccoli were so determined to get Honor Blackman for the part of Pussy Galore that they had the actress's ability to perform judo written into the script.
Honor Blackman is the oldest ever Bond Girl, being 39 years of age at the time of filming. With Spectre (2015) released, she loses the title to Monica Bellucci, 50 years old.
Steven Spielberg cites this as his personal favorite of all the Bond movies and even owns an Aston Martin DB5 due to the impact Goldfinger had on him. The Aston Martin DB5 that was seen in Catch Me If You Can (2002) was a personal prop loaned to the production by Spielberg himself. The car is the same make and model.
The recreation of the Fort Knox repository at Pinewood Studios was incredibly accurate considering no one involved in the film had been allowed inside the real location for security reasons. The set looked so real that a 24-hour guard was placed on the Fort Knox set at Pinewood Studios so that pilferers would not steal the gold bar props. A letter to the production from the Fort Knox Controller congratulated Ken Adam and his team on the recreation. Auric Goldfinger's 3D Model Map used for his Operation Grandslam is now housed as a permanent exhibition at the real Fort Knox.
The producers wanted Orson Welles to play Auric Goldfinger, but Welles was too expensive. Then Gert Fröbe began arguing over his salary (he wanted 10% from the movie's earnings), prompting the producers to wonder whether Welles would have been cheaper after all.
Author Ian Fleming partially based the title character of his original 1959 novel 'Goldfinger' on the controversial Modernist architect Erno Goldfinger. When he learned that Fleming was naming the villain of his new James Bond novel 'Goldfinger,' the architect threatened to file a lawsuit against Fleming's publisher in an effort to stop the book's publication. Fleming's publisher then contacted the author to inquire whether Fleming might consider renaming the character, and the novel. Fleming replied that he'd be delighted to alter the name...if he could change the name of the character--and the novel--to "Goldprick." Fleming's publisher quietly settled the architect's lawsuit out of court.
Gert Fröbe spoke very little English, so Michael Collins dubbed his voice. Director Guy Hamilton instructed Fröbe to speak his lines (in German) quickly which would assist the looping. Reportedly though, Fröbe was speaking English in a few scenes which reduces the awareness of the dubbing. In the film's trailer, Fröbe's own heavily accented voice is heard when Goldfinger tells James, "Choose your next witticism carefully, Mr. Bond, it may be your last". Fröbe dubbed his own voice in the German dubbed version of the film, too.
After attending the premiere in Rome, Federico Fellini was asked by a journalist what he thought of the film. His enthusiastic answer was "Questi sono i film che fanno andare avanti il cinema!" ("This is one of those films that make cinema move forward!")
The role of Oddjob was the first screen role for Japanese-American weightlifter and professional wrestler Harold Sakata. It was such a success that it started a second career in films, television and commercials. For some of these appearances, he would be billed as "Harold 'Oddjob' Sakata". He also later appeared in Poppies Are Also Flowers (1966) which was based on an Ian Fleming story and directed by Bond director Terence Young.
Tilly Masterson's Ford Mustang was supposedly the first appearance by a Mustang in a major motion picture. The Mustang was introduced in April of 1964 and Goldfinger was released in December. Ford supplied many cars to the film including the CIA agents' Thunderbird, all of Goldfinger's goons cars, and the Lincoln Continental that is crushed.
The Ford Motor Company happily supplied a Lincoln Continental for the car compactor scene in exchange for featuring their new model Ford Mustang in the Swiss mountain driving sequence. During the crushing of the Lincoln, the crew remained totally silent, in awe of what they were doing.
As with the first two James Bond movies, creator and author Ian Fleming visited the set during April 1964. He visited D Stage at Pinewood Studios where they were filming the UK set of the Fontainebleu Hotel pool scene. Sadly, he died a little less than a month before the film's release on 12th August 1964.
The first Bond film to be shown on U.S. commercial TV, on Sunday, 17 September 1972, earning the highest Nielsen ratings for a single movie on TV up to that time. 49% of the nation's viewers tuned in that night, and ABC-TV, which showed the film, would retain the exclusive commercial U.S. TV rights to the Bond series for the next 28 years.
Equipment and gadgetry was developed for the Aston Martin car which was not used in the finished movie. This included: Front and back over-riders for jamming other vehicles; a weapon's tray under the driver's seat; a headlights chamber containing triple-spiked nail clusters for firing at enemies, a radio telephone inside the driver's door paneling, and a thermos with a built-in hand grenade.
The Aston Martin's tyre-shredder was inspired by the scythed chariots in Ben-Hur (1959). The ejector seat was suggested by Guy Hamilton's stepson.
In order to simulate the sound of crumpling metal in the car compactor, sound effects editor Norman Wanstall used the sound of crumpling beer cans.
The idea of the Aston Martin's revolving number plates came from director Guy Hamilton who had just been frustrated at receiving a parking ticket. The various revolving license plate numbers for James Bond's Aston Martin DB5 were 4711-EA-62 (France), LU 6789 (Switzerland) and BMT 216A (UK).
The revolving numberplate on the Aston Martin derives from a similar invention in Dr. Mabuse, der Spieler - Ein Bild der Zeit (1922), by Fritz Lang. It is also used in Lang's own remake Die 1000 Augen des Dr. Mabuse (1960), both times on the car of the evil Dr. Mabuse. The latter film stars Gert Fröbe as Inspector Kras.
This won the first Academy Award for a James Bond movie. It was for Best Sound Effects and it was won by Norman Wanstall. Thunderball (1965) won a Special Visual Effects Oscar the following year and producer Albert R. Broccoli was awarded the Irving Thalberg Award in 1982. Appropriately, the gilded Oscar statuette and the gilded girl in the film have such an uncanny resemblance making Goldfinger fittingly the first Bond movie to receive an Oscar.
As Goldfinger's car is being loaded into the airplane to Geneva, his license plate (Au1) is visible. Au is the elemental symbol for gold.
The film's World Premiere was held on Thursday 17th September 1964 at the Odeon Theatre, Leicester Square, London. Sean Connery could not attend due to filming commitments for The Hill (1965). A specially designed "gold finger" piece of jewelery was designed by British Designer Dipples for Honor Blackman for the premiere and the star's promotional tour for the movie.
Sean Connery drove an Aston Martin DB5 down the famous Parisian promenade of the Champs-Elysees for the French Premiere of the film. For the occasion, sixty women were gilded in gold like the Shirley Eaton character of the movie. One woman mobbed Connery and got into the car.
Terence Young, the director of the first two James Bond movies, worked on the film during the very early stages of pre-production, including early drafts of the screenplay. However, an agreement could not be reached regarding the terms of his contract, and he left the production.
The budget (an estimated US$3,000,000) was more than the budgets for the first two Bond films combined (estimated US$1,100,000 for Dr. No (1962) and US$2,000,000 for From Russia With Love (1963).
The film earned back its production costs outlay of $3 million in just two weeks.
Goldfinger was adapted as a comic strip and published in the English "Daily Express" newspaper from 3 October 1960 to 1 April 1961. It was written by Henry Gammidge and illustrated by John McLusky. It has had world-wide syndication and was reprinted in 2004. The villains Goldfinger and Oddjob also feature in a story in Alan Moore's League of Extraordinary Gentleman comic book. Goldfinger star Sean Connery would later play the lead in the movie adaptation of The League of Extraordinary Gentlemen (2003).
This is the only film where Sean Connery's James Bond orders a Martini shaken not stirred.
While it's generally assumed that Oddjob's hat is a bowler, it is, in fact, a short top hat of the topper variety. The top of it is flat, not rounded, like a bowler, but the flat top is difficult to make out because of camera angles.
For the huge, Wagnerian orchestral opening to the title song, John Barry employed five trombones, four trumpets, four French horns and a tuba.
According to the film's CD Soundtrack sleeve notes, the movie's soundtrack album was a No. #1 hit in the USA charting on 12 December 1964 and staying at No. #1 for three weeks. The title song "Goldfinger" single sung by Shirley Bassey charted in the UK on 15 October 1964 and went to the No. #21 rank. The single entered the charts in the USA on 30 January 1965 and peaked at the No. #8 position.
John Barry described his work on the film as a favourite of his, saying it was "the first time I had complete control, writing the score and the song".
Gert Fröbe was doubled in scenes where Goldfinger plays golf, as he couldn't get the hang of the game.
Watch carefully as the two agents in the black sedan drive off from the Kentucky Fried Chicken; before they reach the "Royal Castle" hamburger on the corner and turn left. There's an old-fashion trash truck backed in and people on the street, watching them shoot the scene.
Ken Adam was advised on the laser's design by two Harvard scientists who helped design the water reactor in 007/Dokutâ Nô (1962).
Michael G. Wilson: The future Bond producer plays a Korean Soldier at Fort Knox. This is the first of Wilson's now-famous cameos in the series. He has appeared in every film from The Spy Who Loved Me (1977) to Skyfall (2012).
Alf Joint: The stuntman played Capungo, the henchman in the opening sequence due to the original actor not being able to do the role at the last minute. This was because he was a real life cat-burglar and had just been arrested. Alf Joint was burnt on the leg by a smoldering coil whilst filming this pre-credits sequence.
The battle aboard Goldfinger's jet was originally a longer sequence where Bond fought both Goldfinger and one of his henchmen. The henchman can be glimpsed when Goldfinger steps into the cabin and his body can be seen tumbling around inside the airplane after the window is shot.
This is the only EON Sean Connery Bond film that doesn't end with Bond at sea.
Originally, the end teaser "James Bond will return in..." announced that the next film would be On Her Majesty's Secret Service. However, there were preproduction issues for OHMSS so the producers decided to make Thunderball (1965) instead. However, by the time that decision was reached, Goldfinger was already in theaters. Eventually, the teaser was altered to advertise "Thunderball". But there are still some prints of the movie with the OHMSS tag. Occasionally, this tag will be seen on some TV prints and early VHS tapes.
https://www.mi6-hq.com/sections/girls/eaton.php3
And a link to Shirley's own website: http://www.shirleyeaton.net/about.php
Charles Helfenstein's The Making of OHMSS - superb book about a superb Bond film.
Robert Sellers: The Battle for Bond - a fascinating insight to what goes on behind the scenes; and how we very nearly had a very different film series. Probably one of the most interesting books about film-making wether you're a Bond fan or not!
Scivally and Cork: James Bond: The Legacy. Another entertaining read looking at the impact the series had over the years.
And of course (if you've the dosh and the muscles to lift it!) the Paul Duncan edited, The James Bond Archives, a massive, brilliantly produced collectable, just an awesome tome.
There are of course a great deal more (most of which I've got) but one to keep away from [so bad I gave my copy to a charity shop) is Sally Hibbin's mistake-riddled The Official James Bond 25th Anniversary Movie Book. How anything this shonky was an official licensed product is beyond me, this came out just before The Living Daylights was released, and has (I think) a foreword by Cubby, shame he didn't read it first!
And I also just learned a new word from you: "shonky." ;) I like that a lot and will start dropping it into conversations and emails immediately.
Wasn't aware of this. Thanks @bondsum, something else to spend my hard earned on!
Cheers @bondsum I'll check it out :-)
Just to mention to everybody that we are here on this thread to be honest with each other, and support each other as longtime Bond fans - so all opinions are respected. We can agree or disagree, no problem, as long as posts are thoughtfully worded. Bashing not allowed, nor have we ever fought fiercely to change others' opinions. This is, as SirHenry wanted, a home for Original fans (us older fans), a place where we can share our thoughts, opinions, experiences and all ideas about Bond. Those who are not the older, Original fans are still very welcome to comment on this thread, just keeping the same tone and respect. This is far from a closed clique - but it is a place for the older fans to hang out. We want nonOriginals commenting because we want this thread to be a shared experience. :)>-
I think once we begin a critical review, no holds barred (which will probably be in December!) it should be a very interesting and lively discussion. I'm looking forward to seeing SPECTRE, but I'm also very much looking forward to our in depth chats here about this film. Our ranking of the film will take place in 2016, after most of us have had a chance to see the film a few times.
Till then, please keep your SPECTRE comments nonspoilerish. So far you all have, which we greatly appreciate. Thanks!
I'd like to hear from others what their favorite or recommended books on Bond are. Cheers!
As we move through November, this thread will continue to have ongoing chat about books on James Bond, the ongoing look on the Fleming Bond novels & short stories, the new James Bond comic book series, AND nonspoilerish comments on SPECTRE. That's a good mix. :> If there is any particular Bond topic you'd like to tackle, bring it up. @BeatlesSansEarmuffs is helming this thread for the next few weeks.
I'd like to post a sprinkling of different things today ...
from JamesBondRadio on twitter:
007 book auction: cashing in collection... http://twib.in/l/M9r8bxppz8M #jamesbond #spectre | https://twibble.io
from our MI6's own twitter feed (@jamesbondlive), here is Lea:
Vanity Fair has an article with the women in SPECTRE
(I have NOT read it yet, but will check for spoilers in a bit ); from twitter: http://vntyfr.com/vNh8uKi I thought it was a nice photo to share with you all:
From the Berlin premiere (@Germanlady, where are you?) ;)
And from the official James Bond twitter, Sam & Daniel in Mexico:
@4Ever you're killing me with such pictures of Lea. I'm afraid I am falling in love..
Yes, the London premiere in on youtube - but I heard it did contain a spoiler! (during interview red carpet chat, by David Walliams). :( Therefore, I am not putting the link to it here. Shame. But all who have seen Spectre go enjoy the premiere in full, if you missed it.
Now a special mention for the new James Bond comics - which I believe @BeatlesSansEarmuffs has just recently read! Really looking forward to what he has to say about this new series. Here is an article with the author of the new Bond comics, Mr. Warren Ellis:
http://io9.com/how-warren-ellis-brought-the-james-bond-of-ian-flemings-1740613198
Interesting article! He talks about his plans for this series. One of the thing Warren says is this: This is the Ian Fleming Bond—the Bond of the books, a direct commission from Dynamite Comics and the Ian Fleming literary estate. The single real difference is that I’ve set it in the present day, having expressed that preference to the estate because I didn’t want to do period pastiche. Beyond that, you should consider it as taking place somewhere in the last half of the Fleming canon.
SPECTRE is instantly my fourth favourite Bond film of all time. And I was just hoping it would be as good as QOS or CR.... Dan was great, Lea was great, the story was good, the action was second to none, and the score was very cool (all IMHO, of course).
That comic book looks very interesting indeed! Glad it isn't a period piece. I think it's too hard for writers these days to actually understand how people behaved 50 years ago (another gripe I have with Trigger Mortis).
I am interested in the comic book only after reading that article. I really want to hear @Beatles' opinion of it. I'm glad it is not a period piece, either, @CommanderRoss; I think it is smart that it is not.
Well, at least I didn't give up any spoilers. 8-X
As far as the new comic book is concerned: I have yet to read a 007 comic that sent me over the moon. This is probably because of the relative strengths of the comics format as opposed to the movie format. The most beautiful girl in the world, rendered as a pen & ink drawing, is nowhere near as gorgeous as a beautiful girl twenty feet high on the movie screen. A realistically rendered stunt delivered in a movie knocks the heck out of the same stunt depicted by the most exciting, innovative graphic artist alive, portrayed on the page of any but the most astonishing of comic books. The strength of a comic book page is the way it can make the unbelievable seem "real" --"You will believe a man can fly," to coin a phrase-- in a way that was impossible on film up until recently. All that being said... the first issue of Dynamite's James Bond 007 comic book is a darned good attempt. I wish it was about 3 times as long, as the first issue is almost entirely set-up... think of it as a pre-title sequence, Bond gets his mission from M, then has a scene with Q. We get the first glimpse of our villain and then...Ooops, issue over. Come back next month when Bond gets into a strange car with a beautiful girl. If you can cope with these particular storytelling restraints then you'll probably enjoy it. If not, then I recommend waiting for the collected edition. Still, Warren Ellis is the very best comics scripter they could have possibly chosen for the job, and the artwork by Jason Masters meshes nicely with both the property of 007 and the scenario offered by Ellis. I’d say Bond is in good hands here, and I’m eagerly looking forward to future issues.