Jibbs
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Post by Jibbs on Oct 12, 2014 15:32:21 GMT -5
The underwater sequence was completely groundbreaking for the day.
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Neverending
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Post by Neverending on Oct 12, 2014 15:51:08 GMT -5
2 years ago, JBond and I did Top 10 lists for everything James Bond related. And I mean EVERYTHING. TOP FIVE 007 GUNBARRELS! This may seem like a silly list. After all, they are all the same. BUT, if you analyze them closely, they're not. Between the music, animation, pose of the actor, and even negative stuff like a bullet going into the gunbarrel (Die Another Day), you can actually pull off a rank. So, here ya go. #5 - FOR YOUR EYES ONLY (1981)I love this one for Bill Conti' funky music. I can just imagine him staring at Roger Moore's bell-bottoms and thinking, "yeah, I got this." It's also interesting that the background on Roger Moore isn't the usual white. It's like a sand-colored brown. It's definitely a nice change of pace. Oh... and, MORE COWBELL. #4 - TOMORROW NEVER DIES (1997)The Pierce Brosnan era had that nice, silky CGI gunbarrel that is still the best to this day. Unless Skyfall has surpassed it. I guess I'll find out tomorrow. But as nice as the gunbarrel was, the music tended to suck and Brosnan is kind of stiff. This is the only film where the music is great and sort of compliments the stiffness. #3 - CASINO ROYALE (2006)You have to give this one credit for creativity. The pre-title sequence in Casino Royale is Bond (Daniel Craig) getting his Double-O status and the gunbarrel sequence is his first kill. Nice! And I love the throwback to Dr. No with the gunbarrel transitioning into the opening credits. That's an even nicer touch. #2 - OHMSS (1969)
I like John Barry's synthesized music and the design of the barrel. But the most amusing part is George Lazenby kneeling. The man is always smooth, even when he's shooting someone. #1 - GOLDFINGER (1964)This is a perfect marriage of music, animation, and performance. I love how Sean Connery stunt double Bob Simmons glides onto the screen, walks as if he knows someone is about to assassinate him, jumps and draws first fire. I love it. It's so great they were never able to re-create it.
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IanTheCool
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Post by IanTheCool on Oct 15, 2014 22:01:10 GMT -5
Ian's Bond Education You Only Live Twice
I have come to the realization that I prefer my Bond movies to be a little more settled down and grounded. When we started this movie in outer space, I started to roll my eyes a little. And when it appeared that Bond himself was going into space, I really rolled my eyes. Luckily he didn't. But regardless, this seems to be where Bond really starts to move from cool, suave spy intrigue films to silly gadget spy films. Like the magnet helicopter, for instance. I guess thats just not my thing. There's a lot of iconic stuff here which I appreciated mind you, like the underground base and the villain with the cat on his lap. I was somewhat caught up in the story I will admit. It was sort of the reverse of Thuunderball though. . Where Thunderball picked up as it went on, most of my interest here was in the first half and I began losing interest in the second. And James Bond trying to look Japanese? He looked like some weird Vulcan. Also, didn't the whole fake death thing that the title refers to ultimately pointless in regards to the story? 7/10
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Post by Jibbs on Oct 15, 2014 22:08:24 GMT -5
Thank God Bond never goes into space.
Is the title more useless than most of them?
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Post by Dracula on Oct 15, 2014 22:15:48 GMT -5
Ian's Bond Education You Only Live Twice
I have come to the realization that I prefer my Bond movies to be a little more settled down and grounded. When we started this movie in outer space, I started to roll my eyes a little. And when it appeared that Bond himself was going into space, I really rolled my eyes. Luckily he didn't. But regardless, this seems to be where Bond really starts to move from cool, suave spy intrigue films to silly gadget spy films. Like the magnet helicopter, for instance. I guess thats just not my thing. There's a lot of iconic stuff here which I appreciated mind you, like the underground base and the villain with the cat on his lap. I was somewhat caught up in the story I will admit. It was sort of the reverse of Thuunderball though. . Where Thunderball picked up as it went on, most of my interest here was in the first half and I began losing interest in the second. And James Bond trying to look Japanese? He looked like some weird Vulcan. Also, didn't the whole fake death thing that the title refers to ultimately pointless in regards to the story? 7/10
Yeah, it would be six more movies before Bond personally went to space.
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IanTheCool
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Post by IanTheCool on Oct 15, 2014 22:18:00 GMT -5
Thank God Bond never goes into space. Is the title more useless than most of them? I was more referring to the plot point.
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Post by Jibbs on Oct 15, 2014 23:41:28 GMT -5
I'd like to share the full quote from the book that the title refers to, simply because it's cool:
"You only live twice: Once when you are born, and once when you look death in the face."
And in the book the title kind of refers to him getting amnesia at the end and starting a new life. I think it was meant to be the last book. And should have been...
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John
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Post by John on Oct 16, 2014 17:49:20 GMT -5
Which have you seen so far? I think Thunderball was just outside my top 10 the last time I ranked them all.
I just replied to a post from the first page. I didn't know there was a second. I hate this goddamn app.
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Post by IanTheCool on Oct 18, 2014 9:24:57 GMT -5
I've now seen the first 5 connery films (though I need to rewatch Russia, taht was a long time ago). I've also seen Goldeneye, and the Craig films. I have seen bits and pieces of the other Brosnan films, but they never interested me enough to actually sit down and watch the whole thing.
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Post by PG Cooper on Oct 18, 2014 10:13:13 GMT -5
From Russia with Love is the best.
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Post by Neverending on Oct 18, 2014 16:35:22 GMT -5
Bond, JIMMY Bond.
In 1953, James Bond made his debut in a novel by former British intelligence officer Ian Fleming. Almost immediately, it was adapted. For only $1,000, CBS got the rights to the novel and adapted it into a 1954 episode of its anthology series, Climax. The running time is only 48 minutes, but honestly, that's all it needs. Anyone who has read the novel knows that it has a lot of fluff. This TV version only includes the important stuff and it does a great job. Barry Nelson plays Jimmy Bond, yeah they turned him into an American, and he's believable as a spy in a high-stakes baccarat game. Peter Lorre plays Le Chiffre and unintentionally set the template for the type of actors who would get cast as Bond villains. The whole episode has a Fleming and Bond movie feel to it. It strangely foreshadows a lot of stuff. If you're a fan, you should definitely check it out. The only real drawback is that this episode was produced at a time when most of TV wasn't using film. They basically shot it live and transmitted the signal throughout the East Coast while simultaneously using one film camera to record it off a television set for West Coast viewers. So, the quality is VERY bad.
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Post by Neverending on Oct 18, 2014 16:38:18 GMT -5
HE STRIKES... LIKE THUNDERBALL!
By 1959, a series of James Bond novels had been released, in addition to appearences on television and newspaper comic strips. It was only a matter of time till Hollywood came knocking. However, instead of purchasing the rights to all this material, they took the cheap route and worked on an original story instead. Producer Kevin McClory and screenwriter Jack Whittingham, along with Ian Fleming, worked on a script that would eventually become Thunderball. The project never saw the light of day, so Fleming turned all the material developed into his latest Bond novel without giving his partners credit or even telling them he was doing so. This would all lead to decades of lawsuits and a rival Bond film in 1983. In the meantime, producers Harry Saltzman and Albert R. Broccoli bought the rights to everything James Bond related, except Casino Royale and Thunderball, and went on to launch the legendary 007 franchise. But of course, the threat of those two Bond properties was always at the back of their head. The rights holder of Casino Royale turned the novel into a Bond spoof in 1967 starring David Niven, Peter Sellers, Woody Allen, Orsen Welles, and original Bond girl Ursula Andress as Vesper Lynd. No harm there. Kevin McClory, on the other hand, wanted to make a rival Bond movie as soon as he got the full rights of Thunderball. Saltzman and Broccoli quickly made a deal with him and the result was the 4th James Bond installment in 1965. To this day, Thunderball is the most successful Bond film of all-time. It sold 74.8 million tickets and made an adjusted box office gross of $600 million domestically. It was the Star Wars, Batman, and Harry Potter of its day. You would think McClory would be satisfied with this success. But no... there's always more money to be made. In 1983, he finally made the rival Bond movie he always wanted to produce. It was titled Never Say Never Again and starred original Bond Sean Connery in his 7th outing. 1983 also happened to be the year Octopussy, the 6th Roger Moore Bond film, was released. The press ate it up. Connery vs. Moore. The Battle of the Bonds. That was exciting stuff. Ultimately, both movies grossed, more or less, the same and neither set the box office on fire. It was definitely no Thunderball. At this point, you'd think McClory would finally give it a rest. But no... he wanted to make ANOTHER rival Bond film. Keep in mind that all he owns is Thunderball. So, he's essentially trying to make Thunderball over and over again. He came close in the late 1990s with Timothy Dalton, of all people, back as Bond. This time, however, MGM had the resources to put a stop to the project. Sony was the studio backing McClory's latest attempt, this time titled Warheads, but what they really wanted to make was Spider-Man. MGM owned the rights to Spidey, so both studios made a trade. Sony went on to launch its own legendary franchise and the heirs of the James Bond series finally got to put Kevin McClory in a grave. The winner of all this mess is, of course, Spider-Man:
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Post by Neverending on Oct 18, 2014 16:46:15 GMT -5
LICENCE TO DIRECT Reviewers for Skyfall give director Sam Mendes a tremendous amount of credit for the quality of the film. It is a reminder that although the franchise is very producer-driven, directors still have the breathing room to leave their mark. So, let's take this moment to look at some of the filmmakers that have left their footprints in the series. TERENCE YOUNG (DR. NO, FROM RUSSIA WITH LOVE, and THUNDERBALL)Terence Young has been credited as the architect of the series. He gave the franchise the look, feel, and style that has lasted 50 years. He is also the one who made Bond a little more... charming. Readers of the Ian Fleming novels are quite aware that Bond is a major snob. To me, he isn't a likable character in the books. And I'm pretty certain that Young agreed since he reinvented him. The Bond that has lasted half-a-century and is beloved around the world is not Fleming's Bond. It is Young's Bond. That is something important to remember. Credit also has to be given for the way he molded Sean Connery. Connery is not a British gentlemen. He's a poor kid from Scotland who grew up in a tough neighborhood. There's nothing Bond in his DNA except how to win a fist fight. The charming and sophisticated Connery you see on the screen is just him following Young's guidance. That's the reason why he gave his best performances in the Young helmed installments. And last but not least, all three of Young's films are CLASSICS. No other Bond director can say that except Martin Campbell. Although Campbell has only directed two movies. He needs a third if he wants to match or surpass him. GUY HAMILTON (GOLDFINGER, DIAMONDS ARE FOREVER, LIVE AND LET DIE, and THE MAN WITH THE GOLDEN GUN)Guy Hamilton is arguably the most fascinating director in the series. The man directed Goldfinger, the greatest film in the franchise, and then directed three movies that almost everyone dislikes. How did that happen? Well, the answer is simple. Hamilton didn't like the exotic adventurer portrayed in the Terence Young and Peter Hunt films. And he didn't like the fantasy-driven one from Lewis Gilbert's You Only Live Twice either. His Bond was simply a guy on the job. That's why he always marveled in the little things. Like, Bond messing with Goldfinger in a golf match. Or Bond playing games with that lady spying on him in the airplane restroom. Or what about Bond tricking that guard while imprisoned in Goldfinger's Kentucky estate? If you closely analyze all four of Hamilton's movies, it's those little moments where he's having the most fun. Look at Live and Let Die for example. He doesn't introduce Roger Moore in a casino or rescuing a woman at the beach or even in a mission. He has Moore hiding a girl when M abruptly shows up in his house. It's like watching a frigging sitcom. In the case of Goldfinger, I think he simply got lucky because the screenplay by Richard Maibaum and Paul Dehn is incredibly strong. And, Diamonds Are Forever, which I like and defend, is very effective as a comedy. So, basically, Hamilton had a very interesting approach and he created a lot of amusing moments but he didn't always have the best writing team on his side. LEWIS GILBERT (YOU ONLY LIVE TWICE, THE SPY WHO LOVED ME, and MOONRAKER)It should come as no surprise that Lewis Gilbert is the most successful director in the series. He put the Super in Super Bond. It's easy to look back at his films and poke fun at them, but man, mainstream audiences sure loved them. You Only Live Twice and Moonraker are the 3rd and 4th most successful movies in the series. And, The Spy Who Loved Me, also a success, made Roger Moore a popular Bond and the chief rival to Sean Connery for many years. Love him or hate him, Gilbert is the reason the series has lasted 50 years. The franchise was on life-support after The Man with the Golden Gun. Gilbert resurrected it, made Roger Moore a star, and then delivered one of the Monster Hits in the series. And he did it all by making Bond as big as it could be. His three movies are, without a doubt, the biggest in the series. He gave Blofeld a giant Volcano lair that literally cost $1 million to construct. Stromberg had an underwater hideout that was lid by master filmmaker Stanley Kubrick as a favor to production designer Ken Adams. And who can forget Bond going to outer space? Fans roll their eyes at these things but the public loves it. And not just the public of THEN but the public of NOW as well. GoldenEye is a Gilbert-inspired film. And Skyfall, from what I have read, will have a MAJOR nod to Gilbert in the third act. Next to Terence Young, Gilbert has the biggest directorial footprint in the franchise. JOHN GLEN (`80s BOND)You know how every October there's a new Saw or Paranormal Activity film? That's kind of what Bond was like in the `80s. Every two years a new installment was released, fans went to see them, and that's it. Nothing really stands out about Bond in the `80s. It was just business as usual. Directing all the movies was John Glen, who currently holds the record for most Bond films directed, and he did a great juggling act. The movies were never too big but never too small either. There was gadgets but nothing too crazy except for the mini jet in Octopussy. And he managed to transition from Roger Moore to Timothy Dalton without losing the look and style he had developed. He also had the same writing team for all his films, Richard Maibaum and Michael G. Wilson. So, there is a lot of consistency with the storytelling and characters. I guess what I'm trying to say is that Glen made assembling line movies. He got the job done, but ultimately they're nothing special. Now granted, For Your Eyes Only and The Living Daylights have their defenders, but let's be honest, these are not CLASSIC Bond films. Unless you're a fan, or of a certain age-group, `80s Bond is something most people don't care about or acknowledge. I'm sure the average moviegoer doesn't even remember Timothy Dalton. Overall, it was a pretty bland era. It was good for the fans. Five extra movies to watch and possibly enjoy but nothing that will resonate. MARTIN CAMPBELL (GOLDENEYE and CASINO ROYALE)Next to Terence Young, Martin Campbell is the best Bond director. Although some will argue that he is the best. The beauty of Campbell is that he knows what Bond needs to be at a particular time in history. GoldenEye and Casino Royale are completely different movies because they need to be. GoldenEye was being released after a 6-year absence and two forgettable Timothy Dalton installments. It was also after the Cold War had ended. So, the movie had to be Gilbert-esque and prove that Bond can fit into a new era. Casino Royale, on the other hand, was released after 9/11. Our enemies were no longer countries with a military and weapons that could blow us up. No, this time they're terrorists who lurk in the corners and can literally use anything against us. So, you need a tough and resourceful Bond. There's no need for theatrics this time. Some fans are disappointed that Campbell hasn't directed more Bond films, but I think that's fine. His legacy will be introducing Bond to two different eras. That's impressive.
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Jibbs
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Post by Jibbs on Oct 18, 2014 17:56:14 GMT -5
Bond, JIMMY Bond.
In 1953, James Bond made his debut in a novel by former British intelligence officer Ian Fleming. Almost immediately, it was adapted. For only $1,000, CBS got the rights to the novel and adapted it into a 1954 episode of its anthology series, Climax. The running time is only 48 minutes, but honestly, that's all it needs. Anyone who has read the novel knows that it has a lot of fluff. This TV version only includes the important stuff and it does a great job. Barry Nelson plays Jimmy Bond, yeah they turned him into an American, and he's believable as a spy in a high-stakes baccarat game. Peter Lorre plays Le Chiffre and unintentionally set the template for the type of actors who would get cast as Bond villains. The whole episode has a Fleming and Bond movie feel to it. It strangely foreshadows a lot of stuff. If you're a fan, you should definitely check it out. The only real drawback is that this episode was produced at a time when most of TV wasn't using film. They basically shot it live and transmitted the signal throughout the East Coast while simultaneously using one film camera to record it off a television set for West Coast viewers. So, the quality is VERY bad. I probably said this last time but it's worth mentioning again. Jerry Goldsmith did the music for that episode. It was the first thing he's done.
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Post by Neverending on Oct 18, 2014 18:06:14 GMT -5
You also mentioned he was 25.
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Post by Jibbs on Oct 18, 2014 18:10:52 GMT -5
That's funny because I almost looked up his age to add in there.
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Post by Neverending on Oct 20, 2014 14:15:40 GMT -5
TOP 10 JAMES BOND POSTERS #10 - DIAMONDS ARE FOREVER (1971)It's cheesy but it works. #9 - FOR YOUR EYES ONLY (1981)The iconic "legs" poster. There are many versions but this is the one I ultimately settled on. #8 - GOLDFINGER (1964)I would have made a few minor changes, but overall, it's a VERY good poster and the tagline is excellent. #7 - THE LIVING DAYLIGHTS (1987)Let's call this "Poster B". #6 - LIVE AND LET DIE (1973)This might be the most spoiler-y poster in the entire James Bond franchise but it's very appealing as artwork. #5 - THUNDERBALL (1965)Speaking of great artwork, how awesome is this poster? #4 - THE LIVING DAYLIGHTS (1987)Let's call this "Poster C". #3 - MOONRAKER (1979)Rolling your eyes a million times won't stop this from being an awesome poster. If I ever have a "man cave" I would put this poster on the wall. It's just that type of poster. #2 - THE LIVING DAYLIGHTS (1987)Let's call this "Poster A". #1 - GOLDENEYE (1995)GoldenEye was my introduction to James Bond so there's something about this image that hits the right emotional cords. Plus, it was also used as the cover art in the video game. So it's more reasons to associate this image with happy thoughts.
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Post by Jibbs on Oct 20, 2014 17:52:56 GMT -5
I'm sure last time I posted the TWINE teaser poster in response.
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IanTheCool
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Post by IanTheCool on Oct 31, 2014 18:43:06 GMT -5
Ian's Bond Education From Russia With Love
I have seen From Russia with Love, but it was many year ago, and I barely remember it. Its okay.Its a very subdued James Bond, and I like subdued over ridiculous. Although this might tip a little too much into the mundane. This tells a moer tradional spy tale with more focus on the intrigue than the action, and I appreciate that. I suppose I was disappointed with the lack of intrigue in the actual story. SPECTRE is shadowing James Bond while he retrieves a micro-tape. Okay then. I liked the direction they took here and the tone it created, but the story was nothing special. I really liked that Robert Shaw was in it, and I enjoyed his scene with Bond on the train. 7/10
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Post by Jibbs on Oct 31, 2014 20:22:42 GMT -5
The train stuff is great.
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Post by IanTheCool on Nov 9, 2014 9:41:27 GMT -5
Ian's Bond Education On Her Majesty's Secret Service
On Her Majesty's Secret Service is a Bond film with a lot of strengths, undercut slightly by some really slow and monotonous down periods. But lets talk about the strengths. The down periods there's not really much to say except that the movie was about 20 minutes too long and just really dragged at certain moments, especially in the first act. One thing I loved about this movie was the alpine setting. It is unique for a Bond film and yet fits the premise so well. I also love the idea of a ski chase, and they even throw in a bobsled chase for good measure. But honestly, a ski chase? Gold. I also really liked the Bond girl Tracy and I actually liked how far they went with her. A pretty somber ending for a fun action movie though. Not sure it really fit... 8/10 p.s. I am confused about the Blofeld thing. Didn't he and Bond meet in the previous film? How did they not know each other? Is there not actually supposed to be any chronological canon in these films?
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Post by Jibbs on Nov 9, 2014 12:11:48 GMT -5
They're sort of chronological, at least from now on concerning his wife. But this film is a bit of an anomaly in that sense. The "Blofeld Trilogy" in the novels in order are Thunderball, On Her Majesty's Secret Service, and You Only live Twice, so they kind of fudged some things.
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Post by Neverending on Nov 21, 2014 17:15:05 GMT -5
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Post by PG Cooper on Nov 21, 2014 17:41:26 GMT -5
Neat.
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Post by Neverending on Nov 21, 2014 18:15:57 GMT -5
www.telegraph.co.uk/culture/film/starsandstories/3561124/Roger-Moore-Im-the-worst-Bond-apparently.htmlRoger Moore: I'm the worst Bond, apparently23 Sep 2008 Sir Roger Moore, now 80, still doesn't take anything seriously - least of all himself, writes Bryony Gordon Sir Roger Moore would not exactly say that he is looking forward to seeing Quantum of Solace, the new James Bond film. "Errrr." A long pause. "Hmmmmm." A raise of the most famous eyebrow in the world. "I'm curious to see it. I thought Daniel Craig did a very good job in the last one, having been attacked by all and sundry. Wait until the baby is born before you start criticising it, I say!" He produces the first of many chuckles. "I'm the worst Bond, according to the internet. Generally hated! I was too funny, too light. Didn't take it seriously enough." He seems quite proud of this. "Well, I mean, this is a man who is supposed to be a spy. And yet he turns up in bars and hotels around the world, and everyone says, 'Ah, Mr Bond, we've been expecting you.'" Chuckle, chuckle, chuckle. "Everybody knows who he is and what he wants to drink. "It's the same with the Bond girls. All the new ones say, 'Oh, I'm going to be different from the others', but before long it's always the same - 'Oh, James!'" For all his jokiness, Sir Roger has obviously done something right. He is the longest-running Bond to date, beating Sean Connery by one film (unless you count Never Say Never Again, generally not thought of as a real Bond film because it was not made by Eon Productions), and is so iconic that Amy Winehouse refers to him on her latest album: "You tear men down like Roger Moore." He hasn't a clue why. "I probably just rhymed with door. Or she couldn't find anything to rhyme with Connery." He's equally unfazed by comparisons with his Scottish chum's portrayal of the secret agent. "The important thing to me is: 'Did I get the cheque?' I did, and they keep coming. The residuals are quite handsome!" Chuckle, chuckle. It's easy, when meeting the 80-year-old in Monte Carlo - his home for half the year, alongside Switzerland, partly, he claims, for tax reasons - to conclude that he hasn't taken anything terribly seriously in his entire life. Especially because he's just written a deliciously self-mocking autobiography, My Word Is My Bond, in which he concludes that he owes most of his success to luck. The book is not exactly brimming with bitchy stories. As he writes, "This is, after all, a book about me: a suave, modest, sophisticated, talented, modest, debonair, modest and charming individual - of whom there is much to write." But compared to Connery's recently published wrestlings with the idea of Scottishness, Sir Roger is definitely "ahead on the witty anecdotes", as he puts it. It is certainly hard to imagine him refusing autographs to fans because they might be sold on, as Sir Sean reportedly does: Sir Roger has an air that is part lounge lizard, part clown. He hobbles, minderless, into the lobby of the Hôtel de Paris, where the staff immediately rise to greet him. "Ah, Sir Roger, for you the best table." It is a bit like watching a James Bond film, should Bond become a geriatric - Sir Roger's mind has a tendency to wander off at tangents, and at one point he puts his sweetener in the ashtray instead of his espresso. He even dresses like Bond, wearing a navy blazer with white trousers, white shirt and white loafers with gold details. Topped off with huge Cartier glasses, it is a quite ridiculous look - and I suspect that is just the way he likes it. In fact, Sir Roger is so relentlessly silly that spending time with him is an unmitigated pleasure. He pulls faces for the photographer, and tells us that instead of saying "cheese", he prefers the term "witty, titty sex", which he duly utters every time the flash goes off. Devoid of any self-importance whatsoever, he asks the photographer if he wants him to do angry eyebrows, or seductive ones - in reference to his Spitting Image puppet, whose entire dramatic range was based around its mobile brows. His rambling anecdotes are equally delightful, and equally batty. He remembers that when he was in The Saint, the cast were all asked who they would most like to meet, dead or alive. "I said Mr Walls, of Walls ice cream, so I could ask him why the company had stopped producing these wonderful choc ices with dark chocolate on the outside. I didn't know all the others were saying 'Gandhi' or 'Jesus'." He has to pause for a moment to stifle his laughter. "As far as I know, they didn't get an extension on life, but I did get sent a big chocolate cake." Sir Roger - who was knighted in 1999 for his tireless services to Unicef - was born in south London, the son of a policeman. He tried to write his autobiography many years ago, at the insistence of his friend Michael Caine, "because he had written his and I suppose he thought someone else should suffer too". But then his laptop was stolen and he couldn't be bothered. He started again after being nagged by his fourth wife, Kristina Tholstrup, and his three children from his third marriage, to Luisa Mattioli, an actress who was best friends with Tholstrup until she took up with Sir Roger. As he has reduced me to the state of a quivering schoolgirl, I fail to probe him about his multiple marriages, perhaps because I am fantasising about becoming wife number five. Although the relationships are mentioned in the autobiography, he seems far more interested in another topic: his health. Sir Roger seems to have been under the weather all his life; most recently he was treated - successfully - for prostate cancer. "I was going to call it Out of the Bedpan," he purrs, rather incongruously. "As a child I had mumps and the measles. Chickenpox. Tonsils out. I didn't learn the alphabet until I was 11. I was circumcised at eight. Much better than having it done later, like my old friend in the army, Captain Hornby of the Royal Artillery. Afterwards I said to Matron, 'You can't call Hornby "old cock" any more!'" There are many similar stories, most of them verging on the unprintable. When he was 10, for example, he had acute appendicitis, which the doctor diagnosed via a rectal examination. "Because it was a training hospital, he invited 30 student doctors to perform the same humanitarian task. They all agreed: acute appendicitis - and by the way, you're a little gay." Was he traumatised? "Oh no. I thought: 'One day I shall become an actor, and I will write an autobiography, and this will all be great material.'" It is indeed all grist to the mill - but his insistence that in his career, he has been a lucky amateur (the book carries the self-deprecating subtitle Memoirs of an Aspiring Actor) is belied by his training at Rada. In the 1950s, he was a male model, before winning a contract at MGM, and though his films were not box-office smashes, they did lead to the role of Simon Templar in The Saint, followed by The Persuaders!, alongside Tony Curtis, and his first Bond excursion, 1973's Live and Let Die. He hasn't done much in the way of acting since he hung up his tuxedo in 1985, aged 58. I suggest that is quite old for an action star. He in turn tells me not to be so rude. "The wonderful thing about age is that your knees don't work as well, you can't run down steps quite as easily and obviously you can't lift heavy weights. But your mind doesn't feel any different. I read the obituary columns and I think: 'Oh goodness, he was only 93!'" Does he worry about death? "What would be the point? I've not planned my funeral. I'm not the Queen. A procession through the streets of Stockwell would be nice, I suppose. But when I go, I'd just like everyone to say: 'He lived longer than anyone I knew.'?" And off he goes again: chuckle, chuckle, chuckle.
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