James Bond James Bond 2007 Schools Wikipedia Selection . Related subjects: Films James Bond 007 is a fictional British agent (the Bond character is usually referred to as a spy, but was actually a counter-agent and a professional assassin) created by writer Ian Fleming in 1952. Fleming wrote numerous novels and short stories based upon the character and, after his death in 1964, further literary adventures were written by Kingsley Amis (pseudonym Robert Markham), John Pearson, John Gardner, Raymond Benson, and Charlie Higson. In addition, Christopher Wood wrote two screenplay novelisations and other authors have also written various unofficial permutations of the character. Although initially made famous through the novels and books, James Bond is now best known from the EON Productions film series. Twenty-one films have been made (as of 2006) as well as two that were independently produced and one American television adaptation of Fleming's first novel under legal licence. The EON films are generally referred to as the 'official' films (although its origin is unclear, this terminology is used throughout this article). Albert R.

"Cubby" Broccoli and Harry Saltzman produced most of these up until 1975, when Broccoli became the sole producer. From 1995, his daughter, Barbara Broccoli, and his stepson, Michael G. Wilson, jointly continued production duties. To date, six actors have portrayed James Bond in the official series. They are: Pierce Brosnan (1995–2002), Daniel Craig (2006–present). In addition and generally considered "unofficial", Barry Nelson portrayed Bond in an Americanised television episode adaptation of Casino Royale in 1954. Bob Holness portrayed James Bond in a South African radio adaptation of Moonraker in 1956. Roger Moore acted the role in an episode of a TV comedy show called Mainly Millicent (starring Millicent Martin and guest stars) in summer 1964. This episode is included as a special feature (named Roger Moore as James Bond, Circa 1964) in the newly published Live and Let Die Ultimate Edition DVD.

David Niven played the role of James Bond in a non-EON production of Casino Royale in 1967, and Connery reprised the character in another non-EON film, Never Say Never Again in 1983, an update of 1965's Thunderball, in which he also starred. The 1973 BBC documentary Omnibus: The British Hero featured Christopher Cazenove playing Bond in selected scenes from the original novels. The twenty-first official film, Casino Royale, with Daniel Craig as James Bond, premiered on 14 November 2006, with the film going on general release in Asia and the Middle East the following day. Broccoli and Saltzman's family company, Danjaq, LLC, has owned the James Bond film series, through EON, since the start. It became co-owner with United Artists Corporation since the mid-1970s, when Saltzman sold UA his share of Danjaq. Currently, Columbia Pictures and MGM (United Artists' parent) co-distribute the franchise. In addition to novels and films, Bond is a prominent character in many computer and video games, comic strips and comic books, and has been the subject of many parodies.

Overview Ian Fleming's creation and inspiration Commander James Bond, CMG, RNVR is an agent of the British Secret Intelligence Service (SIS) (more commonly known as MI6). He was created in February 1952 by Ian Fleming while on holiday at his Jamaican estate called Goldeneye. The hero of Fleming's tale, James Bond, was named after an American ornithologist of the same name who was an expert on Caribbean birds and had written a definitive book on the subject: Birds of the West Indies. Fleming, a keen birdwatcher, owned a copy of Bond's field guide at Goldeneye. Of the name, Fleming once said, "I wanted the simplest, dullest, plainest-sounding name I could find, James Bond was much better than something more interesting like 'Peregrine Maltravers.' Exotic things would happen to and around him but he would be a neutral figure – an anonymous blunt instrument wielded by a Government Department." Bond's parents are named as Andrew Bond, a Scotsman, and Monique Delacroix from Canton de Vaud in Switzerland (these nationalities had previously been established in On Her Majesty's Secret Service).

Bond's Scottish heritage was partly a result of Fleming being impressed with Sean Connery's screen portrayal of his character, whereas Bond's mother was named for a Swiss girl to whom Fleming was once engaged. In his fictional biography of Bond, John Pearson gave his birthdate as 11 November ( Armistice Day) 1920, although there is no evidence for this in Fleming's novels. Fleming was inspired by a real spy - Dušan Popov, a Serb double agent for both the British and Germans, who was also known as a bit of a "playboy". After completing the manuscript for what would later be titled Casino Royale, Fleming allowed his friend William Plomer, a poet and later Fleming's editor, to read it. Plomer liked it enough that he gave the manuscript to Jonathan Cape, who did not like it as much, but published it anyway in 1953 due to the fact that Ian was the younger brother of Peter Fleming, an established travel writer who also put in a good word for Ian. Since the fictional James Bond's creation, hundreds of reports by various news outlets have suggested names for Ian Fleming's inspiration of Bond.

Usually these people have a background of some kind in espionage or other covert operations. Although some names share similarities with Bond, none has ever been confirmed by Fleming, Ian Fleming Publications or any of Ian Fleming's biographers such as Fleming's assistant and friend, John Pearson. James Bond may have had its origin in Toronto , Ontario. British Naval Intelligence Commander Ian Fleming was invited by Sir William Stephenson, codename Intrepid, to observe and participate in the SOE subversive warfare training Syllabus at STS-103. Fleming had a private residence located on Avenue Road in Toronto , Canada because the camp was full. On Avenue Road, there was the St. James Bond United Church and the address of the military building (the church was at 1066 Avenue Road) was 1107 Avenue Road (Double ones 0 and 7 thus the number 007). The building no longer exists, but where it once stood is Marshall McLuhan Catholic Secondary School. Marshall McLuhan CSS was built by Bondfield Construction and completed in 2001.

Most researchers agree that James Bond is a highly romanticised version of Fleming himself; the author was known for his jet-setting lifestyle and reputation as a womaniser. Both, for the most part, went to the same schools, like the same foods (e.g., scrambled eggs), have the same habits (e.g., drinking and smoking), share the same view on women (e.g., how they should look and how they should dress), and have similar education and military careers both rising to the rank of Commander. Although the character of Bond is not known to be based on anyone but Fleming himself, the look of James Bond, famed for being "suave and sophisticated", is based on a young Hoagy Carmichael. In Casino Royale the character Vesper Lynd says of Bond, "He reminds me rather of Hoagy Carmichael, but there is something cold and ruthless." Other characteristics of Bond's look are said to be based on Fleming, such as his height, his hairstyle and his eye colour. Fleming has, however, admitted to being inspired by true or partially-true events that took place during his career at the Naval Intelligence Division of the Admiralty.

Most notably, and the basis for Casino Royale, was a trip to Lisbon that Fleming and the Director of Naval Intelligence, Admiral Godfrey, took during World War II en route to the United States. While there they went to the Estoril Casino in Estoril, which, due to the neutral status of Portugal had a number of spies of warring regimes present. Fleming claimed that while there he was cleaned out by a "chief German agent" at a table playing Chemin de Fer; however, Admiral Godfrey tells a different story, that Fleming only played Portuguese businessmen and that afterwards Ian had fantasised about them being German agents and the excitement of cleaning them out. The franchise The James Bond franchise, now with cumulative worldwide ticket sales of over $4 billion, is currently the second all-time highest grossing film franchise in history, after Star Wars , and one of the longest running film series in history, spanning 21 official films, 2 unofficial films, 1 TV episode based on Casino Royale, and a cartoon television series spin-off.

Casino Royale, the twenty-first film, was released on 15 November 2006 with a follow-up film currently using the working title Bond 22 that will be released on 7 November 2008. Every Bond film has been a box office success to a lesser or greater extent. They continue to earn substantial profits after their theatrical run via videotape, DVD , and television broadcasts ; in the UK, Bond holds three of the top five spots of the most-watched television movies. The first actor to play Bond on-screen was American Barry Nelson in the 1954 CBS television production of Casino Royale in which the character became a U.S. agent named "Jimmy Bond". In 1956, Bob Holness provided the voice of Bond in a South African radio adaptation of Fleming's third novel, Moonraker. Harry Saltzman and Albert R. Broccoli started the official cinematic run of Bond in 1962, with Dr. No starring Sean Connery . The films made by their production company, EON Productions are regarded as the "official films" by all parties, although the 3 "unofficial" adaptations were authorised.

The official series had set up a semi-regular schedule of releases: initially annually, then usually once every two years, although there have been a couple of times where the gap was larger, usually due to external events. Since Bond's peak of popularity in 1965, with the release of Thunderball, critics have often predicted that his successful run would come to an end, usually believing that the films were out of touch with the times. After the release of On Her Majesty's Secret Service, George Lazenby quit the lead role for this very reason, even though he was offered a seven-film contract. By the 1980s, some critics had grown tired of the series, commenting that the perennial sexism and glamorous locales had become outdated, and that Bond's smooth, unruffled exterior did not mesh with competing movies like Die Hard. The hard-edge of Timothy Dalton in the Bond films of the late 1980s met a mixed response from moviegoers: some welcomed the earthier style reminiscent of Fleming's character, while others missed the light-hearted approach which characterised the Roger Moore era.

While Dalton's final outing, Licence to Kill (1989), was financially successful, it did not prove as popular as previous installments. Its relative failure is usually blamed on a poor promotional campaign in the United States , Dalton's darker portrayal of Bond, and its status as the first Bond film to be rated PG-13 in the US and " 15" in the UK. Regardless, a new Bond film was scheduled for release in 1991. However, legal wrangling over ownership of the character led to a protracted delay that would keep Bond off movie screens for the next six years, during which time Dalton had moved on. The 1990s saw a revival and renewal of the series beginning with GoldenEye in 1995. Pierce Brosnan filled 007's shoes with a mix of Sean Connery cool and Roger Moore wit. The combination saw Bond's success return to a level it hadn't enjoyed since 1979's Moonraker. In all, Brosnan made four films before being replaced in 2006 by Daniel Craig, who stars in a reboot of the series.

Although Craig's Casino Royale is the 21st film of the series, it is Bond's first mission after obtaining his double-0 status from MI6. The James Bond novels and films have ranged from realistic spy drama to science fiction. The original books by Fleming are usually dark — lacking fantasy or gadgets. Instead, they established the formula of unique villains, outlandish plots, and voluptuous women who tend to fall in love with Bond at first sight — the feeling often being mutual. The films expanded on Fleming's books, adding gadgets from Q Branch, death-defying stunts, and often abandoning the original plotlines for more outlandish and cinema-friendly adventures. The cinematic Bond adventures were initially influenced by earlier spy thrillers such as North by Northwest, Saboteur, and Journey Into Fear, but later entries became formulaic dramas where Bond saves the world from apocalyptic madmen. Inevitably, Bond's nemesis tries to kill him with a death-trap, during which the villain reveals vital information. Bond later escapes and uses this intelligence to thwart the evil plot. In many cases, Bond then kills his opponent himself, although early films often ended with the enemy either escaping or dying by someone else's hand.

Novels In February 1952, Ian Fleming began work on his first James Bond novel. At the time, Fleming was the Foreign Manager for Kemsley Newspapers, an organisation owned by the London Sunday Times. Upon accepting the job, Fleming asked that he be allowed two months vacation per year. Between 1953 and his death in 1964, Fleming published 12 full-length novels and one short story collection (a second collection appeared after his death). Later, continuation novels were written by Kingsley Amis (as Robert Markham), John Gardner and Raymond Benson; the last of these books was published in 2002. In 2005 Young Bond, a new series of novels featuring the adventures of Bond as a teenager began, written by Charlie Higson. Films Eon Films The James Bond film series from EON Productions has a number of its own traditions, many of which date back to the very first movie in 1962. Since Dr. No, each film begins with what is known as the James Bond gun barrel sequence, which introduces Agent 007.

Appearing to be filmed through a rifled gun barrel, as if from a bullet's perspective, the scene is a side-on view of Bond walking, then quickly turning and shooting. The scene then reddens (signifying the spilling of the would-be assassin's blood); the gun barrel dissolves to a white circle. After this introduction, every film (with the exception of Dr. No) would start with a pre-credits teaser, also popularly known as the "opening gambit". Usually the scene features 007 finishing up a previous mission before taking on the case from the film, and does not always relate to his main objective. Some of the teasers tie in with the plot (as in Live and Let Die). Since The Spy Who Loved Me in 1977, they have often involved attention-grabbing action sequences, which have tended to become larger and more elaborate with each film. The World Is Not Enough (1999) holds the record for the longest, running more than 15 minutes, whereas most run about seven to ten minutes.

After the teaser sequence, the opening credits begin, during which an arty display of scantily clad and even (discreetly) naked females can be seen doing a variety of activities from dancing, jumping on off-screen trampolines, to shooting weapons. This title sequence is a trademark and a staple of the series. The best known of the Bond title designers is Maurice Binder, who created them for fourteen films from 1962 to 1989. Since Binder's death in 1991, Daniel Kleinman has designed the credits and has introduced CG elements not present during his predecessor's era. While the credits run, the main theme of the film is usually sung by a popular artist of the time. Until GoldenEye, which featured motifs such as a two headed 'Janus' figure, the backdrop was unrelated to the plot of the film, although the design may reflect an overall theme (e.g., You Only Live Twice uses a Japanese motif as well as images of a volcano , both of which are elements of the movie itself). Goldfinger uses short glimpses of the film projected onto women's bodies, and On Her Majesty's Secret Service uses clips from all of the five preceding films shown running through an hourglass.

For Your Eyes Only begins with Sheena Easton singing the title song on-screen. Die Another Day's titles are unusual in that the images advance the storyline by depicting Bond's torture following his capture by the North Koreans . Casino Royale's credits are also atypical in that, instead of presenting the traditional display of silhouetted and scantily clad females, the sequence is a very colorful and animated display, using many symbols from playing cards such as the four suits and the face cards, and depicting violent fighting between colored silhouettes of men. The credits for GoldenEye depict the fall of the Soviet Union and thus provide a transition from the pre-fall era of the opening sequence to the post-fall setting of the rest of the narrative, which is set nine years later. The Bond films are unusual in retaining full opening and closing credits: since the late 1990s it has become common for most blockbuster films to save detailed credits for the end, with only the title shown at the beginning. Countries James Bond visited in the films Agent 007's famous introduction, "Bond, James Bond", became a catchphrase after it was first uttered (with a cigarette in the corner of his mouth) by Sean Connery in Dr. No.

Since then, the phrase has entered the lexicon of Western popular culture as the epitome of polished, understated machismo. On June 21, 2005 it was honoured as the 22nd greatest quotation in cinema history by the American Film Institute as part of their 100 Years Series. To promote the release of Tomorrow Never Dies, trailers were released featuring the character as protrayed by Pierce Brosnan saying, "Bond. You know the rest." Bond's customary beverage order, " Vodka martini. Shaken, not stirred", which was first uttered by him in Goldfinger (although it is actually first said on screen by the villain in Dr. No, and referenced even earlier in the same film), was also honoured as #90 on the same list. However, in "Casino Royale", Craig portrayed the incomplete development of the younger Bond by retorting to a bartender "Do I look like I give a damn?" after being asked if he wanted his martini shaken or stirred. Casino Royale also featured the martini recipe from the Ian Fleming book: 6 parts gin, 2 parts vodka, 1 part Lillet Blanc. Every film, except Dr.

No (1962) and Thunderball (1965), has the line: "James Bond will return..." or "James Bond will be back" during or after the final credits. Up until Octopussy (1983), the end-credit line would also name the next title to be produced ("James Bond will return in..."). Over the years, the sequel has been incorrectly named three times. The first, 1964's Goldfinger, announced in early prints that Bond would return in On Her Majesty's Secret Service. However, the producers changed their mind shortly after release and subsequently corrected future editions of the film. In 1977, The Spy Who Loved Me stated that 007 would be back in For Your Eyes Only, but EON Productions decided to instead take advantage of the Star Wars craze and release Moonraker, whose plot was changed to involve outer space (unlike Goldfinger, however, EON chose not to correct the credits of The Spy Who Loved Me, so the error remains). Thirdly, Octopussy incorrectly states the next film as being From a View to a Kill, the original literary title of A View to a Kill.

In the most recent Bond films, the title of the next film has been omitted, saying simply 'James Bond will return'. The liner-notes of a 'Best of Bond' music compilation CD stated that this was because the early films all used titles from Fleming's novels; having outpaced the novels with the current Bond films, the abbreviated form is used instead. Every actor who auditions for the Bond role must always perform a scene from From Russia With Love, where he hears a noise and investigates, only to discover a beautiful stranger on his bed. There is also lively debate on the best Bond movie, with most major film critics giving the top mark to either From Russia with Love (Connery's favourite, as he re-asserted in a 2002 ABC interview with Sam Donaldson) or its brassy follow-up, Goldfinger. Despite George Lazenby's short tenure in the tuxedo, some reviewers have also warmed to On Her Majesty's Secret Service – Leonard Maltin's TV Movies (a.k.a. Leonard Maltin’s Movie & Video Guide) review book states it might have been the best Bond film ever had Connery appeared in it; Raymond Benson concurs in The James Bond Bedside Companion.

Casino Royale, the latest Bond, is at present the highest-rated on the IMDb, with 8.1 out of 10. What Really Happened at the Oscars (Analysis) | Hollywood Reporter 10:07pm PT by Scott Feinberg What Really Happened at the Oscars (Analysis) Getty Images Jennifer Lawrence accepting her best actress Oscar THR's awards analyst on Sunday night's show and the six months that led up to it. For prognosticators like me, the 85th Annual Academy Awards was a scary affair. The outcomes of so many of the major categories were up in the air. I was literally on the edge of my seat -- on the far right side of the first mezzanine at the Dolby Theatre -- as each category was announced. Yes, we all knew Argo was going to win best picture, Daniel Day-Lewis was going to win best actor for Lincoln, Les Miserables' Anne Hathaway was going to win best supporting actress, Austria's Amour would be named best foreign-language film, Searching for Sugar Man was destined to take home best documentary feature and Life of Pi was a shoo-in to pick up the trophy for best visual effects.

PHOTOS: Backstage at the Oscars: What You Didn't See on TV But anyone who tells you they were certain about the other big ones is lying: There were no guarantees that Ang Lee would beat Steven Spielberg to win best director, Jennifer Lawrence would beat Emmanuelle Riva to win best actress, Christoph Waltz would beat Robert De Niro and Tommy Lee Jones to win best supporting actor, Argo's Chris Terrio would beat Lincoln's Tony Kushner and Silver Linings Playbook's David O. Russell to win best adapted screenplay, Django Unchained's Quentin Tarantino would beat Amour's Michael Haneke and Zero Dark Thirty's Mark Boal to win best original screenplay or that Brave would beat Wreck-It Ralph to win best animated feature. None was a sure thing. In the end, I'm gratified to say, I ended up correctly predicting 21 of the 24 winners, tying my all-time best score from seven years ago. And so another Oscar season -- the 12th that I've covered -- is now in the books. But before we all put it on the shelf, it's worth taking a moment to consider what really happened.

Argo didn't win for the reasons many others have cited. It wasn't because Ben Affleck was screwed out of a best director Oscar nomination (though he certainly was). It wasn't because DreamWorks bungled the Lincoln campaign (it got the film as far as anyone could have). It wasn't because Zero Dark Thirty was unfairly smeared (although even far-left U.S. Rep. Dennis Kucinich acknowledged that it had been given a raw deal when I spoke to him at the Oscars). And it wasn't because Harvey Weinstein and associates couldn't make a convincing argument that Silver Linings was socially significant (though they gave it their best shot). No, Argo won because it was the most crowd-pleasing and least objectionable drama among this year's nine best picture nominees, just like recent winners Slumdog Millionaire (2008), The King's Speech (2010) and The Artist (2011). Period.

(Well, semi-colon: like The Artist, it certainly wasn't hurt by the fact that it featured Hollywood in a starring role -- everyone likes to be portrayed flatteringly!) In a sense -- and this might sound counterintuitive given Hollywood is basically a politically liberal town -- this year's Oscar race could be compared to the 2012 Republican primary. Argo was Mitt Romney, out front from the very beginning; just go back and read my reporting and that of other journalists who caught its first screening at Telluride in September. People looked hard for viable alternatives -- a Rick Santorum, Newt Gingrich, Herman Cain or Michele Bachmann, if you will -- and there were major spikes of excitement at the first screenings of Silver Linings at the Toronto International Film Festival, Pi and Lincoln at the New York Film Festival and Les Mis and Zero Dark Thirty over Thanksgiving weekend. But in the end, Academy voters kept coming back to the movie that was less abstract than Pi, had more vitality and a more polished resolution than Lincoln, seemed less frivolous than Les Mis and was less divisive than Zero Dark Thirty. And while it might not be one of the greatest best picture Oscar winners of all time, it is, for me, a worthy one.

As for the director's race, Lee joined Spielberg in the elite club of directors who have won two Oscars because he stretched himself further than Spielberg did. Lincoln is Spielberg's best film in years -- in my view, a masterpiece -- but structurally and thematically it's not all that unlike his other (great) work. Pi, on the other hand, is unlike anything Lee has ever done before. He's a guy who specializes in intimate dramas but decided he wanted to venture into the new world of 3D and made a groundbreaking epic. He already had the affection of the Academy's acting branch, but with Pi he won the enthusiastic support of the tech branches, and I believe that made the difference and propelled the film to a greater accumulation of Oscars than any other film Sunday night. (I want to acknowledge that I was openly skeptical about Pi's prospects after seeing it at the New York Film fest in October -- but I don't think that I was wrong, as some have suggested, because Lee subsequently returned to the editing room for several weeks.

The finished film was considerably better than what I originally saw.) PHOTOS: The 12 Best — and Worst — Oscar Moments Lawrence won -- becoming the second-youngest best actress winner in history -- for several reasons: She was great (like all of her fellow nominees), she campaigned (as hard as any of them), and she's the young, fun, sexy "It" girl of the moment. She's kooky but lovable and reminds me of Diane Keaton, who won the best actress Oscar 35 years ago for Annie Hall. And while there's absolutely nothing wrong with turning out like Diane Keaton, just keep in mind that Lawrence's fellow nominee Jessica Chastain might well turn out to be Meryl Streep and that if Riva spoke English, was based in the U.S. and cared a little more about winning, she might have been the one who prevailed.

But Lawrence won, and congratulations must be given to her -- and to her ID-PR publicists Liz Mahoney and Bryna Rifkin; Rifkin has now helped to guide four clients to acting Oscar wins in the past six years, with Lawrence's following those of Marion Cotillard (La vie en rose), Natalie Portman (Black Swan) and Jean Dujardin (The Artist). Quite a remarkable feat. In the case of best supporting actor, not even The Weinstein Co., which distributed both Django Unchained and Silver Linings, believed that Waltz had a better shot than De Niro (or that Django would end up with more Oscars than Silver Linings). De Niro hasn't won in 32 years and was being championed for his return to serious acting, but I predicted Waltz's win for several reasons. He gave the biggest performance, in terms of screen time, of the nominees; in fact, he originally was going to be pushed for best actor, the category in which he truly belonged. He is likable enough (whereas De Niro and Jones can be prickly).

Most people really enjoyed his movie (unlike Philip Seymour Hoffman's The Master, which was just a bit too weird for many), even if they were embarrassed to admit it. And he was the clear standout in his film's ensemble (whereas Alan Arkin's castmates Bryan Cranston and John Goodman were just as good). Waltz has won two Oscars in four years, something that can be said for only 11 other actors or actresses in film history, an impressive group that consists of Walter Brennan, Bette Davis, Olivia De Havilland, Jodie Foster, Tom Hanks, Katharine Hepburn, Glenda Jackson, Luise Rainer, Jason Robards, Meryl Streep and Spencer Tracy. Amazing. Moving on to adapted screenplay, Terrio was the victor because Argo -- which was adapted from a magazine article about CIA operative Tony Mendez's remarkable caper in Iran, as well as Mendez's memoir -- told the most engaging story of the nominated films. Terrio took the heart of that true story and turned it into a genre-blending/geography-jumping thriller that made audiences laugh and cry and sit on the edges of their seats even though they already knew the ending.

It was no small compliment to award him the Oscar over Kushner and Russell, two of the greatest writers of dialogue working today. Tarantino, meanwhile, prevailed over Boal for several reasons. He previously won 18 years ago for Pulp Fiction, whereas Boal won just four years ago, for The Hurt Locker. Tarantino is a more affable guy. And Zero Dark Thirty was fatally wounded after its historical facts and agenda were first called into question (and would have ended up Oscar-less but for the best sound editing tie), whereas Django, for all the criticism it received, was never about historical facts (the KKK that it depicts didn't even exist until after the Civil War), and it had no agenda except to entertain. As for the Oscars show itself? It was a great thrill to be in the room for the second time. And ... I thought that Seth MacFarlane was OK. The opening bit ran too long. The jokes didn't provoke belly laughs. The closing musical number about "losers" was in poor taste.

But he sang, he danced, he made voices, he kept the audience engaged and amused, and I have no doubt that he brought in many younger viewers without losing many older viewers, which is precisely what the Academy hired him to do. Sure, some of his cracks were tasteless, but I'd rather watch a host live on the edge than play it right down the middle. In my opinion, he deserves a return invite. (If he doesn't get one, though, they should consider Seth Rogen and/or Andy Samberg, both of whom I had my doubts about until they absolutely killed it at the Independent Spirit Awards last year and on Saturday, respectively.) There were a lot of cool moments, but the one that I might remember longest is watching the greatest living actress, Meryl Streep, present the greatest living actor, Day-Lewis, with an Oscar -- and, in so doing, make him the first man to ever accumulate three best actor Oscars.

(Oddly enough, he's also the first man or woman to be recognized with an Oscar for a performance in a Spielberg film.) At the Governors Ball after the show, Day-Lewis, clutching his statuette, smiled and told me, "I know that you believed in me, but I make a point of never assuming anything." I think it's safe to assume that the great thesp, who is only 55, might yet extend his record. The tie for best sound editing also was pretty thrilling. There have been five other ties in Oscar history , but none during the years that I've been watching the Oscars, so to be there to witness one was awesome. To be honest, I initially thought Mark Wahlberg -- whom I'd run into before the show at Ralphs -- was joking when he first revealed the situation, since the odds of one happening when roughly 6,000 ballots are cast are obviously long. And to be there in the audience for the return of my favorite actor, longtime Oscars staple Jack Nicholson, who has been away from the show for a few years, was very special.

I'm a huge fan of President Barack Obama and Michelle Obama, but I'm not sure why the first lady was asked to present best picture, especially if she couldn't do so in person; it felt a little weird. Maybe just because there were a lot of nominees about American history and society this year, such as Argo, Beasts of the Southern Wild, Lincoln and Zero Dark Thirty? If so, that connection never was established. Still, it was cool to witness history -- only once before had the White House directly addressed an Oscars ceremony, and that was in 1941, when President Franklin D. Roosevelt gave a six-minute address over the radio. I give major props to Channing Tatum and Charlize Theron for not only nailing their Astaire/Rogers-style dance number but for agreeing to do it in the first place. They are big stars who didn't need to expose themselves to criticism or ridicule but did so anyway. Daniel Radcliffe and Joseph Gordon-Levitt were quite good as well with their less complicated number.

The celebration of movie musicals from the past decade turned out to be terrific, and proved, as the Grammys do year after year, that people love watching live performances during awards shows, both in the house and on TV. Catherine Zeta-Jones was as sexy and nimble as ever in re-creating her decade-old "All That Jazz" number from Chicago. Jennifer Hudson rocked the place with her rendition of "And I Am Telling You I'm Not Going," the song that single-handedly won her the best supporting actress Oscar for 2006's Dreamgirls, and she received a thunderous standing ovation that seemed to catch even her by surprise. And the Les Mis team did a great job with their medley -- even Russell Crowe got a big ovation. The other performances were a mixed bag. Barbra Streisand did a nice job with her "The Way We Were" tribute to the late composer Marvin Hamlisch, though it focused a disproportionate spotlight on Hamlisch and kept several worthy members of the community from being included in the "In Memoriam" segment (among them Harry Carey Jr., Andy Griffith, Larry Hagman, Lupe Ontiveros and Ann Rutherford).

Norah Jones did a nice job with best original song nominee "Everybody Needs a Best Friend" from Ted. But the most anticipated performance of the night for many, Adele's rendition of the title song from Skyfall (for which she would end up winning the best original song Oscar to go with her Grammy and Golden Globe wins from the past month), proved fairly disappointing. She seemed to be holding back her voice for some reason, and she did not receive a standing ovation. A lot of attention was paid during the show to 9-year-old Quvenzhane Wallis, the youngest best actress Oscar nominee in history, and rightly so. But, when you think about it, there were also a lot of oldies but goodies who popped up during the show who deserve shout-outs, too: 66-year-old Sally Field and 75-year-old Jane Fonda looked fabulous; 76-year-old Dame Shirley Bassey and 70-year-old Streisand sounded great; and Riva was there, on her 86th birthday, as an Oscar nominee and received a "happy birthday" greeting from Lawrence, the actress 64 years her junior who beat her, during Lawrence's acceptance speech. That was nice.

(But where was the dude who has always escorted winners up the stairs to the stage? Thank God it was young Lawrence who fell -- and bounced right back up -- and not Riva!) It's a shame that the Academy wasn't able to reunite all of the actors who have played James Bond -- all six are still alive. I've heard that they tried but that Sean Connery and Pierce Brosnan were holdouts, denying all of the rest of us what would have been the moment of the night. Anyway, before the theme of Jaws comes on to play me off, l'd like to extend my tremendous gratitude to the many people whose interest and/or support make it possible for me to do what I do: my family, friends and THR colleagues (especially Janice Min, Lynne Segall, Gregg Kilday, Chris Krewson, Matt Belloni, Owen Phillips, Jennifer Laski, Raphael Laski, Victor Klaus, David Simpson and everyone on the copy and photo teams); the talent who I cover and publicists who facilitate that coverage (which this season included 9 film festivals, 15 award shows and 75 interviews and Q&As); and especially you, who read my work.

I couldn't do what I do without you, so thank you -- and see you again soon. Scott Feinberg Everything or Nothing Reviews & Ratings - IMDb IMDb 24 out of 29 people found the following review useful: Fantastic bit of editing, catch it if you can from London, England 10 October 2012 Fantastic documentary and very pacily directed. Actually more involving and entertaining than many recent Bond films for this fan, a real narrative arc to it all, and emotional involvement. Superb use of Barry music throughout to accompany the narrative, and clips from the films to illustrate events. Bond creator Ian Fleming gets his deserved share of acclaim in it. Connery's non-involvement lends him a posthumous air, but it allows him to be cast as the villain of the piece, an attitude which seems more justified in retrospect as the series has gone from strength to strength without him. They linger on shots of Connery looking quite obese in the Diamonds are Forever era, as if to make a point, and the clips from his rogue Bond film Never Say Never Again mainly show him at his worst.

They don't mention, however, that EON actively worked to mess up Never Say Never Again by hauling them to the courts on a weekly basis to throw up roadblocks over their intended storyline. Alternative Bond producer and huckster Kevin McClory is the other villain of the piece, though no one would realistically stick up for him. That said, I'm not sure that the whole Spectre thing wasn't his idea and lord knows EON milked that in the 60s, using them for films where they hadn't even featured in the books. A shock to see Roger Moore look so overweight, he's turning into Cubby now, while I thought Dalton looked better than he's been in decades, quite rugged and windswept. But his interpretation of Bond is wholly damned here, with no one speaking up in support of it, and he even seems to damn it in his own words: 'I worried that half the people would love Connery and the other half love Moore and they'd gang up to hate me...' implying that's what happened, though in the interview from which that quote was taken, a few years after LTK, he swiftly added 'Which didn't happen I'm glad to say', now edited out.

Brosnan is in good form, but still surprisingly cut up about getting the push, surprisingly because, let's face it, his films were mostly below par through no fault of his own. I think his response was the grief or regret that comes from knowing he'd never get a chance to get it right, and now time had moved on. One-time Bond George Lazenby is perhaps the best entertainment value for anecdotes, he's in good form and amusingly self-deprecating. Oh, there's a moving scene regarding a phone call from Connery to Cubby, related by Barbara Broccoli. Connery's comments are occasionally heard, but they're from past interviews and used very fleetingly, over other clips. What I found surprising was that I found the clips of Casino Royale with Daniel Craig at the end far more moving than in the actual film, because the music played over it - not David Arnold, it seems - was more affecting. Craig's performance looked shockingly impressive this time round simply because of this. Some clips from Skyfall at the end, though not too many if you haven't seen it yet. The trailer is almost directly before the film, so arrive at the last minute if you want to miss that.

Catch this in cinemas if you can, as you get to see some clips of the films on the big screen for once, even if some of the hi-def remasters seem to have just something very slightly wrong about them sometimes. Was the above review useful to you? 9 out of 11 people found the following review useful: Behind The Spy Who Thrilled Us from United States 30 January 2013 Produced as part of the celebrations of the James Bond film series reaching its fiftieth anniversary and sanctioned by those behind them, the documentary Everything Or Nothing: The Untold Story Of 007 might appear on the surface to be just another piece of celebratory fluff. After all, there have been countless documentaries produced on the series both for television and, more recently, on the various DVD releases of the films. So what could possibly be left to say about the history of the franchise? The answer, as revealed over a bit more than ninety minutes, is quite a bit. What perhaps makes the documentary most notable are those being interviewed. Five of the six actors who've played the part are featured (the sole exception being Sean Connery whose love/hate relationship with 007 is illustrated throughout).

Each of them is nothing short of interesting ranging from George Lazenby's candidness about letting the part go to his head to Timothy Dalton reflecting on how his take on Bond was received to Pierce Brosnan on the pain of losing out the chance to play Bond in 1986 and how he handled the phone call telling him he wasn't getting to do another film after Die Another Day. Representing those either unwilling to be interviewed (such as Connery) to those no longer with us (such as Bond creator Ian Fleming, producer Cubby Broccoli, producer Harry Saltzman and surprisingly even Kevin McClory) is a wealth of mainly audio archival clips. Last but not least are a wealth of others interviewed such as the usual suspects including various Bond girls to current producers Barbara Broccoli and Michael G. Wilson. Somewhat more intriguing are the less usual suspects including Fleming's friend/biographer John Pearson to McClory's friend Judy Geeson and former United Artists executive David Picker. The results help to make this far more than your usual making of documentary. Everything Or Nothing is also well produced and stylishly done.

Yes, there are the expected clips from all of the films, but they are put to surprisingly effective use not just as samples from the respective films but also to illustrate, often metaphorically, events taking place behind the scenes. There's also a wealth of archival material as well that give it a larger scope than many of its predecessors as well. There's also a stylishly done opening black and white teaser sequence that sets the stage for it is to follow that is excellently done. If I would fault the documentary, it would be that it perhaps paced too rapidly and jumps around quite a bit, rarely stopping long enough to focus on any one film in particular. The result of all of these materials being brought together is that this is less a making of documentary and more of a look at the history of the series overall and how it has survived across five decades. It charts the course through the series by telling a story about strong individuals, egos, money and perseverance as much as anything else. Despite being officially sanctioned, the documentary does point out the flaws of various films and when the series went astray.

Perhaps most surprisingly, it even goes into some depth about the controversy surrounding McClory, Thunderball and Never Say Never Again in a manner that is as even handedly as one can expect in light of what is still a controversial subject in Bond circles. From its interviews and archival materials to a stylish production, Everything Or Nothing: The Untold Story Of 007 is far more than just another documentary on the history of a long running franchise. It is a journey through its history, its ups and downs and even some of its points of contention. It is the story behind the spy (and the films) that have, and will hopefully, continue tom thrill us. Was the above review useful to you? 8 out of 10 people found the following review useful: A Bond is formed, a Bond holds and a Bond stays strong for a long, long time. from Edinburgh. 3 March 2013 While this isn't a BAD documentary, it's certainly not one that will reveal anything new to hardcore Bond fans. Think of it more as a companion piece to Skyfall and the fanfare that announced the fiftieth anniversary of Bond at the movies.

Starting off with a very interesting, though somewhat dry, look at Ian Fleming and how the creation of James Bond came about, the documentary then moves on to the movies and spends a lot of time covering the Connery years. Sadly, Sean Connery is one of the few people not to be used in new interview footage, which just goes to show his love-hate relationship with the character and franchise. When the other movies are discussed the other Bonds appear (Lazenby, impressively honest about how he let everything go to his head, Moore, Dalton, Brosnan and Craig). It's unsurprising that a lot of the documentary focuses on Cubby Broccoli and Harry Saltzman, the men who made the main Bond franchise what it is, but it's a shame to see such major omissions as the 1967 version of Casino Royale or the full genesis of the iconic theme tune. Okay, so the title isn't "Everything Or Nothing: An Exhaustive Overview Of 007" but I really can't think of anything here that counts as being "untold". There are no revelations, nothing that I wasn't already aware of in the Bond universe.

The ongoing problems with Kevin McClory, who ended up being allowed to make Never Say Never Again after a lengthy court battle, are discussed but discussed in a way that paints him as the very devil himself. The man isn't even mentioned in the cast list here on IMDb. All in all, this is a nice celebration of an enduring British hero and it serves as a decent primer for newcomers who are wanting to know more about the history of the character and the franchise. Everyone else will already be familiar with the material, as I was, and that makes it far from the ultimate Bond documentary it could have been. Was the above review useful to you? Not just a documentary about a super spy, but something most people can empathize with 29 January 2016 *** This review may contain spoilers *** This is a interesting Documentary that delves into Ian Fleming and how the creation of James Bond came into being. While also showing the struggles and stardom of the actors that played Bond. Which also includes the producers and the legal battle when it came to who owns the rights to "007". I think just about everyone can at least empathize with Ian Fleming who was known to have a charming and alarming characteristics.

Like how it is mentioned in the documentary, Bond is basically the alter ego of Ian Fleming. How women and fancy drinks wasn't enough, how he disliked his job and wanted more out of life. So in another words Bond is someone he wanted to be but couldn't because of his circumstances. A character that is able to win over just about any women, stand tall and overcome just about any obstacles not matter how much the odds are against him. It's a fantasy that just about every men dream about. Sometimes movies can be a coping mechanism for dark times in peoples life. For Ian Fleming it was his passion for writing stories about his fantasies. It was interesting to to know more about the inner turmoil within the company and legal issues when it came to the rights of the "007" franchise. Especially about each star that played Bonds story and how it all came to be. Overall this is a documentary that all Bond just might enjoy and could lead to more appreciation of the "007" films.

8.4/10 from London, England 20 June 2016 Subtitled 'The Untold Story of 007,' Everything or Nothing is very much the Oft-Told Story of 007, and even more the official story according to the Broccoli clan who ended up controlling the movie series: while co-producer Harry Saltzman's flaws are covered in detail and Kevin McClory, one of the first to put his money where his mouth was when he and Jack Whittingham cooked up the screenplay for Thunderball with Ian Fleming several years before Dr. No hit the screen, is not only portrayed as the Devil incarnate but directly blamed for Fleming's death, there's little that reflects badly on Cubby. The closest it comes is the briefest of mentions of Cubby's strong opposition to the casting of Roger Moore widening the rift with Saltzman before reassuring the viewer they became the best of friends and when United Artists' David V. Picker points out that while Broccoli and Saltzman constantly renegotiated their contract with the studio the producers contributed to Sean Connery's growing disaffection and eventual outright hostility by failing to do the same with him.

It's significant that Connery remains the only living Bond star (aside from, er, Woody Allen) not to appear in new interviews. Of course with the creation of Fleming's literary Bond (described by one friend as 'the autobiography of a dream' and by critic Paul Johnson as 'not even the snobbery of a proper snob, it's the snobbery of an expense account man') and what was then 23 EON films to cover in just 98 minutes (the non-EON 1967 version of Casino Royale is not even mentioned), that would have worked out as a mere three minutes or so per film, so this is very much a whistle stop tour. Along the way there's a very good mea culpa interview with George Lazenby (but no mention of Broccoli Sr.'s enduring hatred of him) and an excellent one with Timothy Dalton about the direction his films took but despite amassing an impressive array of Bond movie veterans, friends and associates of Fleming and even Bill Clinton to appear in front of the cameras most of the interviews are not much more than soundbites to keep the success story moving.

It's only really when it addresses the problem of keeping the series relevant to the constantly changing political landscape after it had been off the screen for six years that it really starts to take hold. But otherwise aside from some home movie footage of the producers in happier days there's little here that Bond fans won't have seen before and not much that casual moviegoers wouldn't be aware of either. But then, produced to premiere in time for the film series' 50th anniversary and to promote the release of Skyfall, this is very much a celebration of the series' success rather than an examination of the phenomenon (the explosion of lookalike spy movies and TV shows in the mid-60s goes completely ignored), the occasionally vicious battles for control and its ups and downs over five decades. It's slickly made, but there's really not much to distinguish it from the usual run of 50-minute TV documentaries that inevitably crop up with the release of each new Bond film. Was the above review useful to you?

2 out of 4 people found the following review useful: Straightforward retrospective documentary from United Kingdom 3 November 2015 As a documentary, EVERYTHING OR NOTHING: THE UNTOLD STORY OF 007 attempts to shed new light on the much-loved film and book franchise as well as being a celebration of the topic. It succeeds in the latter part but is noticeably light in offering up anything new in way of material; Bond fans will find this all very familiar stuff indeed. Still, I enjoyed this as a straightforward retrospective, exploring Ian Fleming's life and his original stories before working its way chronologically through the Bond films and their actors. This was made to tie in with SKYFALL and the 50th anniversary of Bond, so it's pretty comprehensive, with lots of clips and interesting reveals about the behind-the-scenes production wrangling with rights issues and the like. The most fun part of all this is the talking head footage of pretty much every important Bond participant, including Barbara Broccoli. The only one missing is the ever-grumpy Sean Connery, but he isn't missed too much. Roger Moore is a delight as ever, and it's nice to see Christopher Lee in what would be one of his last screen appearances.

I'm not sure what Bill Clinton is doing here, but he's here nonetheless. EVERYTHING OR NOTHING will do nothing to change your opinion or outlook about the Bond franchise but it whiles away the time readily enough and certainly puts you in the mood for a Bond film or two. Was the above review useful to you? 2 out of 4 people found the following review useful: Great Bond Mash-Up / Documentary from Canada 19 May 2015 Full marks for this effort - 10 out of 10. Possibly one of the best Bond documentaries to have come along in what is the longest running movie franchise in modern history. The target audience has to be the 60+ crowd who have been around since the beginning of the Bond films. Sure I guess there is something here for the younger fans who are now discovering this "Buck Rogers" of secret agents via the release of the last three films staring Daniel Craig ... who incidentally is the best Bond ever since Timothy Dalton in my opinion. All of the Bonds make an appearance with the notable exception of Sean Connery which is a pity.

If President Bill Clinton can make time in his schedule for a few words - I think Connery does himself a dis- service by failing to appear and add his take to the proceedings. This doc has been around since 2012. I only stumbled upon it recently on the History Channel. If you are in the remotest possible way a Bond fan - make time for this one. You'll be very satisfied that you did. It's highly entertaining, very interesting, informative and totally engrossing from start to finish. Chris G., retired 68 Winnipeg Canada, 19/05/2015 Was the above review useful to you? 0 out of 1 people found the following review useful: Makes for a great crash-course in Bond lore. 4 March 2014 *** This review may contain spoilers *** Very polished and well-done documentary for the Bond fan that doesn't know everything (i.e. me). Connery's struggle with sudden fame; Lazenby's brassy audition and soon-after falling-out with the producers; that jackhole McClory hurling his monkey wrench into the 007 machine. It spends plenty of time on Bond's literary roots, and the man who wrote the legend.

Fleming had his demons, man. Admittedly, my favorite segment was the reboot of 007 with Daniel Craig. He's as brilliant a casting choice as Judi Dench was for M. But this whole thing is well-produced and brings everyone up to speed. 7/10 29 March 2015 *** This review may contain spoilers *** For the dedicated 007 fan, I recommend adding this movie to your Bond collection. I always enjoy a good behind the scenes documentary, especially all the human drama and minutia involved in making Hollywood magic. I have to say as far as movie making documentaries, this one's the best so far. This is a brilliant and methodical collection of interviews and news clips covering the Bond saga from 1962 to 2012's Skyfall. Going far beyond the special features that accompany the DVD/Blu-Ray collections, there are many fresh revelations of the decisions, relationships, litigations, collaborations, betrayals, controversies, successes, and failures that went into the creative processes of Fleming, Broccoli, Saltzman, and many other talents who framed the Bond mythology. The movie begins with an intro from our newest Bond Commander, Daniel Craig.

It seems a fitting choice to begin the 50-year anniversary tell all as he grew up with Bond. The interviews include super villains as well. Beginning with Christopher Lee, The Man with the Golden Gun 1973, it's revealed (to me at least) that he's a "distant cousin" of the late Ian Fleming. I'm glad he's still with us to share his knowledge of Ian's real-life WWII Naval Intelligence experiences which was the impetus for the Bond character development. Interviews are not just for the Hollywood elite either. The film makers include the surviving siblings, children, associates, and friends who, in my mind, contribute greatly to the Bond perspective. As the film progresses to interviews with the actors who played Bond, many new facts are revealed in a "he said, she said" style and old facts re-confirmed as well. For example, the reasoning behind choosing Welsh actor, Timothy Dalton, before Pierce Brosnan, is well known by many of us older fans, but maybe not by the newer generation of fans. However, most glaringly absent from the main characters' participation, is the first Bond, Sean Connery. In spite of this, Mr.

Connery's pro/con experiences are told in absentia and in a seemingly fair manner carefully avoiding any pre-judgments leaving that privilege to the audience. Harry Saltzman and Albert R. (Cubby) Broccoli were the original Bond producers but died in 1994 and 96. Although not available, many home movies and other footage were carefully edited in to give us a fairly complete perspective of the working and personal relationship between these two men. This part of the story is greatly enhanced by the daughters. Barbara Broccoli and Hillary Saltzman. I'm captivated as they recall loving memories of their fathers, and can't help wondering why they were never "Bond girls." These two women are as beautiful as any of the ladies who've filled the ranks. Then, the story is the "passing of the baton" to the surviving Barbara Broccoli and her step brother Michael. They continue the Bond saga with a set of new challenges, such as, choosing the first "Blond Bond," Daniel Craig, which was very controversial at the time (another new fact to me).

Sharing what 007 means to them, the last few minutes are a montage of closing comments and analogies from many of the feature's participants including former Pres. Bill Clinton. For me, I'm always slow in warming up to a change with my favorite characters and Bond is no exception. However, the actors who have holstered the Walther PPK, have done an excellent job in my estimation. I'm not one of those "so and so was the real Bond" type of fans . . . So far. As a companion movie, I recommend "Bond Girls Are Forever." It's a 2002 documentary, ten years before this one. It's done in a different style as Maryam d'Abo, herself a Bond girl, solely does the interviews in "Globe trotter" fashion. Was the above review useful to you? 4 out of 9 people found the following review useful: Everything or Nothing: The Untold Story of 007 11 October 2012 *** This review may contain spoilers *** To mark the 50th anniversary of James Bond 007 on the big screen, starting with Dr.

No in 1962, this special feature length documentary film was released on the same that the first of the spy films came out (the Adele title song for Skyfall was released this day as well), and it would document everything you could think of from the creation of the character and stories up to the present day. It of course begins with the story of how writer Ian Fleming created the character in 1953 and wrote his first of fourteen novels with the famous hero, Casino Royale, and after terrible versions on television how eventually the books caught the attention of filmmakers Albert R. 'Cubby' Broccoli and Harry Saltzman with Eon (Everything or Nothing) Productions and Danjaq brought Dr. No to the big screen. There is discussion about the casting of Scottish actor Sir Sean Connery (sadly not interviewed) as British secret agent James Bond 007, the four films that followed with the star, the sad death of Fleming after From Russia with Love, the legal battle during Thunderball with Kevin McClory trying to get the rights he battled for, new Australian actor George Lazenby becoming the new star (who it would turn out would only film), and bringing Connery back for Diamonds Are Forever.

We see how English actor Sir Roger Moore became Bond for twelve years and seven films, Saltzman leaving the series after falling out with Broccoli, the battle between the official Bond film Octopussy and the independent Thunderball remake Never Say Never Again starring Connery and how they fared, how close Irish actor Pierce Brosnan came to becoming the next Bond before his television show Remington Steel was revived and Welsh Shakespearian actor Timothy Dalton was brought in, and how Dalton returned the character to the routes of the novels but became a somewhat controversial and possibly too dark Bond for fans in two films (especially in Licence to Kill). It shows Brosnan getting his second chance six years after the last film and officially becoming the new Bond in GoldenEye and a following three films after, with the Cold War over Bond is given an up to date new image and the actor is replaced by a then controversial choice, blonde actor English actor Daniel Craig who turns out to be an inspired choice in Casino Royale (which shows the origins of the character becoming a double 0 agent, killing two people), and there is a little talk about the upcoming Skyfall.

It is fascinating to hear stories from the actors who have played the part of James Bond 007; Lazenby tells how he stormed into an audition and found it easy to get laid, Moore talks about making great friends with cast and crew and trying to resist a Sir Sean Connery impression when saying "My name is Bond. James Bond", Dalton remarks that he wanted to stick with the original works of Fleming and create a more serious character and how enjoyed being the hero, Brosnan remembers how he came close to getting the part and then when he did he mentions the funny side of the job, and Craig talks about how he was happy to be accepted after some controversy and what the future holds for the franchise. Also with contributions from Ken Adam, Barbara Broccoli, Dana Broccoli, Bill Clinton, Robert Davi, Sir Christopher Lee (Ian Fleming's cousin), Mike Myers and Michael G. Wilson. It is clever that the film does not just use photographs and archive footage to tell the stories, it merges clips and behind the scenes footage from all twenty three films: Dr.

No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, On Her Majesty's Secret Service, Diamonds Are Forever, Live and Let Die, The Man with the Golden Gun, The Spy Who Loved Me, Moonraker, For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights, Licence to Kill, GoldenEye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day, Casino Royale, Quantum of Solace and Skyfall. The film also features many of the famous music scores from the films, and a few of the songs, including "Thunderball" by Sir Tom Jones, "We Have All the Time in the World" by Louis Armstrong and "Nobody Does It Better" by Carly Simon. It is a very interesting factual film about one of the most successful film franchises in the world, there are many fascinating and insightful stories about the making of the films, all the crew who made them happen, and the events during and after production and screenings, it is everything you could think of if you are a Bond fan, a very watchable documentary. Very good! Was the above review useful to you?

Page 1 of 2: Celebrities’ 25 Most Embarrassing Jobs — Before Their Big Break! | Radar Online Celebrities’ 25 Most Embarrassing Jobs — Before Their Big Break! G G Jon Hamm: Mad Men’s Don Draper has a complicated past, and it turns out, so does his portrayer, dapper 43-year-old Hamm. The actor once worked as a set dresser for porn movies! “You gotta move cameras around, and ashtrays. And continuity is apparently an issue,” Hamm drolly explained to The Guardian. He also told Anderson Cooper about the job he found “depressing.” Luckily, Hamm left the adult film world behind after his girlfriend Jennifer Westfeldt cast him in a play. G G Cindy Crawford: The DeKalb, Illinois native took a $4-an-hour job at a local fair shucking corn while a college student. But while doing the awful work, Crawford, now 48, was discovered by a photographer. She went on to supermodel glory. G G Hugh Jackman: The X-Men Wolverine hottie had considerably less power as a performer when he was first starting out.

“I used to be a clown at kid's parties,” Jackman, 45, has said. “I was Coco the Clown and I had no magic tricks and I remember a six-year-old standing up at a party saying 'Mummy this clown is terrible, he doesn't know any tricks' and he was right." G G Ellen DeGeneres: The talk show and Oscar hostess, 56, has revealed she sold Hoover vacuum cleaners door-to-door before making it as a comedienne. She joked on her show about the early job with singer Willie Nelson, who had also been a vacuum cleaner salesman! G G Sylvester Stallone: Before Rocky made him a household name, Stallone was a hard luck story. The worst point came when he was employed cleaning out lions’ cages at New York’s Central Park Zoo for $1.12 an hour. G G Madonna: May I take your order? Pop’s material girl, 55, was once in a decidedly more humble place, as she worked at Dunkin’ Donuts in New York’s Times Square. Madonna was forced into the job after arriving in New York with just $35 in her pocket. But she soon left the donut shop behind.

G G NeNe Leakes: The Real Housewives of Atlanta star, 46, is now the most highly paid Bravo housewife, making an incredible $1 million a year. But her previous career was even more eye-popping -- taking her clothes off for money! Leakes’ stripper career lasted for three years when she was a single mom in her early 20s. “I used the name Holly and then Silk,” NeNe candidly confided. “I made pretty good money. It was a great hustle.” G G Brad Pitt: Incredible but true—big screen sex symbol and Angelina Jolie’s main man Pitt, 50, once handed out flyers outside El Pollo Loco Restaurant in Los Angeles while dressed in a chicken suit! Another of Pitt’s crazy day jobs was acting as a chauffeur for strippers. G G Jerry Seinfeld: Before he became famous as a comedian and sitcom star, Seinfeld, 60, sold light bulbs over the phone. He told People magazine he had the job in 1976 for a couple of weeks “and I was just looking for some grocery money. I hated the job.

It was all lying [and] outrageous prices.” G G Steve Carell: The former The Office star, 51, didn’t work in an office early on but was a mail carrier for a post office in Massachusetts. Carrell said he used to have to drive his own car to deliver mail, as the post office didn't have mail trucks. G G Johnny Depp: The Pirates of the Caribbean star, 50, was considerably less swashbuckling before his acting career took off. Depp sold ballpoint pens over the phone and reportedly never made a single sale. The future Edward Scissorhands would call up potential customers and try to hook them in with free getaways to Greece and a grandfather clock from buying customized ballpoint pens—but failed. G G Victoria Beckham: Before she made it big with the Spice Girls and in the fashion world, Beckham, 40, played a sperm on roller skates for a BBC sex-education television show called "Body Matters." G G Gwen Stefani: No Doubt Stefani, 44, was meant for much better things! The future pop started out working for Dairy Queen.

The good news was, she met the future members of No Doubt at the ice cream parlor. G G Jim Carrey: The Mask comedian had an impoverished upbringing and at age 15, worked as a janitor to help his family, mopping floors at a tire factory in Canada. Carrey, 52, has said his situation made him so angry he used to carry a baseball bat on his janitor cart because he “wanted to beat the heck out of something.” G G Amy Adams: Long before showing off her sexy style in American Hustle, Adams worked as a Hooters girl. "I did it because I needed to buy a car," she told London's Mail on Sunday. Now 39, Adams left Hooters after saving $900, enough to buy a used Chevrolet. “I wasn’t cut out to be a Hooters waitress,” she said. G G Yolanda Foster: The former model and Real Housewives of Beverly Hills star’s father died in a tragic car accident when she was just seven years old in The Netherlands; and at age 13, she worked as a dishwasher in a Chinese restaurant.

“From an early age on I had a strong sense of having to provide for my family,” the 50-year-old told the New York Post. G G Matthew McConaughey: The Dallas Buyers Club Oscar winner once lived in Australia as a rotary exchange student and paid bills by shoveling chicken manure out of cages. "Those types of trips are really ones that leave a lasting impression," McConaughey, 44, has shrugged about the odd job. G G Howard Stern: The shock jock and America’s Got Talent judge, 60, had an uncharacteristic job when he was younger. Stern was an ice-cream truck driver! G G Sean Connery: The future James Bond, now 83, once polished coffins for a living. Connery also held other strange jobs, from lifeguard to milkman. G G Lady Gaga: “I was working in strip clubs when I was 18,” the 28-year-old pop queen has admitted of her early exotic dancer days, which featured her stripping off black leather. “My act was pretty wild.

I don't like to talk about it too much but there were drugs, serious drugs." G G Kanye West: Although many would have considered working as a sales assistant at The Gap a decent starter job, the singer and future Kim Kardashian husband later threw shade on the experience on his song “Spaceship.” He rapped, “Let’s go back/Back to the Gap/Look at my check, wasn’t no scratch/So if I stole, wasn’t my fault/Yeah, I stole, I never got caught.” Also in the song, West, 36, claimed he was the store’s “token blackie.” G G President Barack Obama: Don’t serve President Obama ice cream—he ate so much he’s sick of it, as his first summer job was scooping ice cream at a Honolulu Baskin-Robbins. “Chocolate ice cream gets real hard,” Obama, 52, told New York Magazine. He also claimed he got carpal tunnel syndrome on the job because, “Your wrists hurt.” G G Whoopi Goldberg: The View co-host has revealed she used to work in a mortuary putting makeup on dead people for wakes and funerals.

Goldberg, 58, said her boss told her, “There’s nothing to be scared of.” G G Megan Fox: While appearing on the Ellen Degeneres show, the Transformers beauty, 28, said she used to dress up as a banana while working in a smoothie shop in Florida. Although Fox mostly worked behind the register, she recalled, “Once a week, usually on Fridays, someone had to dress up as a piece of fruit and go and stand out by the highway. I was a banana, a giant banana.”

Question: Which of the seven actors who have played James Bond once polished coffins for a job?
Answer: SEAN CONNERY