This came out forty years ago (it really, really doesn’t feel it) - look at the range of terrific films it covered!
Starlog wasn’t a magazine I picked up a lot - my film reading at the time was focussed more on Starburst (which I wrote about here) - but I did when they had great covers and content like this. I mean, any magazine that has Raiders Of The Lost Ark, Escape From New York and For Your Eyes Only on the cover has to be worth a read, doesn’t it?
The issue features, amongst others, articles on the launch of the Space Shuttle, a guide on publishing a fanzine, storyboarding the FX sequences in Raiders with Joe Johnston, a piece on Mind Warp (a film I don’t remember at all but which had James Cameron as production designer) and a feature on previous James Bond films effects (Bond presumably being an honorary SF community member because of Moonraker).
There are also interviews with George Lucas (part 2 of 3, it's quite amusing in places), Derek Meddings on his For Your Eyes Only effects (interesting and thorough) and George Takei.
For Your Eyes Only, the twelfth James Bond film in the official EON series (and the fifth to feature Roger Moore in the lead role), opened in the UK on 26th June 1981. It was directed by John Glen (the first in his eventual five-film run), produced by Albert R. “Cubby” Broccoli and written by Richard Maibaum & Michael G. Wilson. Peter Lamont was the production designer, Derek Meddings supervised the visual effects and Bill Conti wrote the score. The film was originally planned for release in 1979 to follow The Spy Who Loved Me (it’s announced at the end of that film) but was put back to allow Moonraker to go into production.
UK quad poster
Following the outer space excess of Moonraker (which remained the series highest grossing entry until Goldeneye in 1995), producer Cubby Broccoli wanted a conscious return to the style of the earlier Bond films and, indeed, the novels of Ian Fleming. For Your Eyes Only, he decided, would be stripped back of gadgets and humour, allowing for a grittier, more realistic approach - a reboot before they were in fashion, as it were. Broccoli’s stepson, Michael G. Wilson, had been made an executive producer for Moonraker and was given more creative input in the series. He agreed with the need to get back to basics and collaborated on the screenplay with Bond veteran Richard Maibaum. The script took key elements from two of Fleming’s short stories - Risico (Kristatos and Columbo) and For Your Eyes Only (the murder of the Havelocks) - and included unused sequences from Live And Let Die (the keelhauling), Goldfinger (the Indentigraph, called the Identicast in the novel) and On Her Majesty’s Secret Service (the winter sports). The macguffin of the film - the ATAC - and the villain Locque were both added by the pair.
As the script was being written, Broccoli had a major problem in that Roger Moore was undecided as to whether or not he wanted to continue. His original three-film contract took him up to The Spy Who Loved Me and following that, he negotiated contracts on a film-by-film basis. This uncertainty led to other actors being considered for the role, including Lewis Collins (then well-known as Bodie in The Professionals), Michael Billington (who played Anya’s lover in The Spy Who Loved Me) and Michael Jayston. Broccoli worked hard to persuade his friend and star to make at least one more film and Moore, helped by a substantial increase in his salary, eventually signed on, though he remained uneasy about the tougher character he was being asked to play. For my part, I think this is probably his best performance as Bond - he still has some quips but they’re toned down from the 70s excesses and his character shows a harder, more vengeful streak. His age also seems to be acknowledged, especially with the young ice skater Bibi - he rebuffs her advances by saying “You get your clothes on and I’ll buy you an ice cream.”
At work in Cortina - front left - Tony Waye (Assistant director), Bob Simmons (Action co-ordinator), Roger Moore, Cubby Broccoli, John Glen, Michael G Wilson
Further to the back-to-basics philosophy, there were several changes in the key crew. John Glen, who’d worked as editor and second unit director on a number of previous Bond films, was promoted to director. Ken Adam, the production designer, was working on Pennies From Heaven in America and when his assistant Peter Lamont was asked who he thought should replace him said “why not me?” Both Glen and Lamont decided to pull back from Adam’s trademark grand sets in favour of a more realistic design.
Of the old guard, both Desmond Llewelyn (Q) and Lois Maxwell (Miss Moneypenny) returned but Bernard Lee, who’d played M since Dr No (1962) was hospitalised with stomach cancer and died on 16th January 1981 before he could film his scenes. As a mark of respect, the part wasn’t recast and his dialogue was split between Q, the Minister Of Defence (Geoffrey Keen) and Bill Tanner (James Villiers).
from left - Carole Bouquet, Lynn-Holly Johnson, Cassandra Harris
Carole Bouquet, who had previously auditioned for the part of Holly Goodhead in Moonraker, was chosen to play the vengeful Melina Havelock and in an interesting twist became the first Bond girl who doesn’t share a love scene with our hero until the closing credits. She is also only a year older than Lynn-Holly Johnson. Julian Glover, who’d once been shortlisted as a potential Bond prior to Live And Let Die was cast as Kristatos, whilst Chaim Topol was suggested by Broccoli’s wife Dana for Bond’s ally Columbo (and it was he who came up with the pistachios quirk). Cassandra Harris, cast as Countess Lisl, took her fiance to lunch with Broccoli and his team, the first time any of them were to meet Pierce Brosnan. Lynn-Holly Johnson, who played Bibi Dahl, was a professional ice skater Broccoli had seen and liked in the film Ice Castles (1978). Michael Gothard played Kristatos’ henchman, the hired assasin Emile Locque, who doesn’t say a single word throughout the film (though he screams as he dies). Unfortunately, the film ends with a cringeworthy sequence featuring then Prime Minister Margaret Thatcher (played for laughs by Janet Brown) which doesn’t sit with the tone of the film at all, dates it badly and feels like a terrible joke that should have been cut in the scripting stage. Roger Moore reportedly hated it too.
from left - Julian Glover, Topol
Since John Barry was unable to work in the UK at the time, American composer Bill Conti - best known for his work on the Rocky films - was chosen. His score, very much of its time, doesn’t really suit the film (though it’s an decent enough listen) and has dated quite badly (though I maintain that the discordant piano during the ski sequence fits the visuals perfectly). Conti also wrote the music to go with Michael Leeson’s lyrics for the title song, sung by Sheena Easton who maintains the honour of being the only singer to feature in the opening titles. The song reached number 8 in the UK charts, number 4 in the US and was nominated for the Best Song Oscar. Blondie were asked to submit a song but it was rejected - it’s available on their album The Hunter and, I think, would have worked just as well.
On a budget of $28m ($6m less than Moonraker), Bond was ready to head into the 1980s.
“We had gone as far as we could into space. We needed a change of some sort, back to the grass roots of Bond. We wanted to make the new film more of a thriller than a romp, without losing sight of what made Bond famous - its humour.”
- John Glen
Production began on 2nd September 1980 in the North Sea, filming exterior scenes with the St Georges (interiors were shot at Pinewood later, as was the explosion which was filmed in the tank on the 007 stage).
The production moved to Corfu and, on 15th September, began filming at the Villa Sylva at Kanoni, which doubled as Gonzales’ Spanish villa. On a location scout, it had been decided to use the local hills and olive groves for the chase scene between Melina’s Citroën 2CV and the Peugeot 504s driven by Gonzales’ men (Bond’s Lotus was blown up early on to show that he would be relying more on his wits than gadgets). The chase was supervised by Remy Julienne (who would work on every Bond film up to Goldeneye) and filmed over twelve days, using four 2CVs which were modified for the stunts required. The scene includes Roger Moore’s ad-lib “I love a drive in the country, don’t you?” which clearly takes Carole Bouquet by surprise and he has since stated that of all the cars he ever drove as Bond, the 2CV was his favourite.
The Citroen 2CV jumps the Peugeot in the olive groves
The crew moved to Kalambaka on the Greek mainland to shoot in and around the monastery that sits on top of a virtually sheer column of rock. Although permits had been signed and agreed, the monks who lived in the neighbouring monastery of Meteora took exception, complaining that Bond’s reputation for sex and violence was an affront and demanding filming be halted. To prevent filming, they hung laundry out of windows in an attempt to ruin the shots. Local people and the government intervened and shooting was allowed to continue, though only exteriors were used - St Cyrils monastery itself was built at Pinewood. On location, Roger Moore - who has a fear of heights - had to resort to some ‘moderate drinking’ to calm his nerves but the fall was performed by Rick Sylvester (who also did the parachute jump at the start of The Spy Who Loved Me). Derek Meddings developed a system that would dampen the sudden stop and although Sylvester was nervous - he later said “From where we were shooting you could see the local cemetery” - the stunt went without a hitch.
Bond kicks Locque's car off the cliff, the scene that concerned Roger Moore
The raid on Kristatos’ warehouse was also filmed, along with the scene where Bond kicks Locque’s car over the edge of a cliff. Roger Moore felt the scene was too cold-blooded - he said it “was Bond-like, but not Roger Moore Bond-like” (though I would argue his killing of Sandor in The Spy Who Loved Me is just as nasty) - but agreed to film it as originally written. The raid sequence also saw Topol injured, when a piece of debris hit him in the face - the scene is included in the movie, with the actor falling toward Moore.
Could that be Locque, or is it a character from Guess Who?
Returning to Pinewood in Novermber, work began on Peter Lamont’s sets at Pinewood, including the Identigraph scene with Q. On the DVD documentary, Roger Moore (a known practical joker) said he convinced Desmond Llewellyn his dialogue had been changed and handed him new sheets the continuity girl had typed up. Desmond spent his lunch-hour learning the new lines only to discover, when he got on set, that it was a joke. His response is not recorded.
The church in the pre-credits sequence was filmed at Stoke Poges, next door to the golf course from Goldfinger (1964). The sequence of Bond visiting his wife’s grave was written to provide continuity between potentially different actors, when it was still unsure if Moore would be continuing in the role.
Martin Grace hangs on over Beckton Gas Works
The helicopter sequence was filmed at the abandoned Beckton Gas Works in London (later used as a location for Stanley Kubrick’s Full Metal Jacket (1987)). Featuring some excellent stunt work - Martin Grace was hanging onto the Jet Ranger, whilst Marc Wolff was the pilot - it also included an incredible Derek Meddings foreground miniature, which used forced perspective to allow the helicopter to apparently fly into a warehouse. For footage inside the building, a full-scale mock-up was mounted on a rail, allowing Roger Moore to be filmed inside it. The bald man in the wheelchair was clearly meant to be Blofeld but ongoing legal battles with Kevin McClory meant the character couldn’t be named or properly seen. Unofficially disposing of Bond’s greatest villain down a chimney stack was Cubby Brococli’s perfect way of saying the 007 series could survive without Blofeld, who wouldn’t re-appear until Spectre in 2015.
Not-Blofeld at Beckton Gas Works (Martin Grace on the skid)
Whilst the first unit was in England, the second unit, supervised by Al Giddings, shot the underwater scenes in the Bahamas with stand-ins. Since Carole Bouquet had a sinus condition, she couldn’t film underwater so the close-ups of Bond and Melina were shot on a dry soundstage. Smoke, wind, lighting effects and dubbed on bubbles gave the illusion of the actors being submerged. Giddings also co-ordinated the logistically difficult keelhauling sequence with John Glen. The submarine scenes were filmed at Pinewood on the 007 stage tank, where Peter Lamont created two working props for the Neptune, as well as a mock-up with a fake bottom.
Filming the keelhauling sequence in the Bahamas
On 1st January 1981, the production began work at Cortina D’Ampezzo in Italy, where unusually mild weather meant no snow had fallen. Instead, they had to ship some in from nearby mountains and dump it on the city streets. Bond veteran Willy Bogner Jr led the second unit there and designed the chase sequence with Bob Simmons to surpass his work in both On Her Majesty’s Secret Service and The Spy Who Loved Me. As well as being pursued by two motorcycles with studded tyres (to film them, Bogner used skis that allowed him to go forwards or backwards), Bond is also chased on the bobsled track in a gripping and visually dynamic sequence. Unfortunately, on the last day of shooting the run, one of the stuntmen in the sled, 23 year-old Paolo Rigon, was killed after he became trapped under the bob. Although he was an accomplished cross-country skier, Roger Moore wasn’t insured for downhill skiing so Bogner stood in for him. Close-ups were filmed with Moore strapped to a sled being pulled downhill, as Bogner skied backwards operating the camera.
Locque and his men wait for Bond at the ski jump - from left, Claus (Charles Dance), Locque (Michael Gothard), Erich Kriegler (John Wyman)
Robbin Young, who played the florist, won Playboy’s “Be A James Bond Girl” where her prize was a small role and a spread in the magazine. The film also marked the last appearance by Victor Tourjanksy, the ‘Man With Glass’ from The Spy Who Loved Me and Moonraker.
First unit filming wrapped in February. Back at Pinewood, Derek Meddings and his team created miniatures of the St George (and blew it up), Columbo’s yacht for the approach to Kristatos’ warehouse and elements of St Cyrils (including the basket lift).
top - film still bottom - Derek Meddings with the foreground miniature exactly duplicating the real building
A member of Derek Meddings' crew at work on the St Georges miniature, just before the diver explodes (hence the miniatures of Bond and Melina)
For Your Eyes Only premiered at the Odeon, Leicester Square on 24th June 1981 before going on general release on 26th June. The premiere was attended by the Prince of Wales and Lady Diana Spencer, for the benefit of the Royal Association for Disability and Rehabilitation. Topol suggested to Cubby Broccoli that he invite his former Bond co-producer Harry Salzman, which he did, marking the first re-union between the two men since their break up after The Man with the Golden Gun (1974).
left - Concept art for the poster by Brian Bysouth - right - raw photo of Nancy Stafford (the hand and crossbow used in the poster)
The poster, showing a woman standing with her legs spread, was designed by Bill Gold and caused a certain amount of controversy in the US - The Boston Globe and the Los Angeles Times considered it unsuitable and edited out everything above the knee whilst the Pittsburgh Press painted on shorts. I thought it was very good and had a copy of it on my bedroom wall for years. The image is composite from two women Morgan Kane photographed - Joyce Bartle provides the legs (she wore her bikini bottoms the wrong way around) and former Miss Florida Nancy Stafford is the hand holding the crossbow.
Roger Moore presents Cubby Broccoli with his Irving Thalberg Award
Citroen produced a special “007” edition of the 2CV which had decorative bullet holes on the door, Corgi Toys produced die-cast models and a 007 digital watch was also available. Marvel Comics published a comic book adaption (which I read and quite enjoyed), written by Larry Hama and drawn by Howard Chaykin.
At the Oscars on 29th March 1982, Sheena Easton performed the nominated title song and Roger Moore presented Cubby Broccoli with the Irving Thalberg Honorary Award, in honour of the Bond series. The script was nominated for Best Adapted Screenplay by The Writers Guild of America.
Setting a record for opening-day grosses (£14,998), it went on to made $195.3m ($509.6m adjusted for inflation) worldwide, making it the second highest grossing Bond film after Moonraker. It was the last Bond film distributed solely by United Artists, as the studio merged with MGM soon after the release.
I like the film a lot though I must admit, at the time, I wasn’t so keen (you have to remember I was 12 when this was released) because after the glorious excess of Moonraker it seemed a bit too pedestrian. But it’s not - the direction is tight, the set-pieces (especially the car chase and the submarine stuff with the St Georges) are suspenseful and well constructed and the acting is good across the board. I’m a fan, so happy 40th anniversary For Your Eyes Only.
Apart from news programmes on TV, my first major source for behind the scenes information on films was Look-In magazine (which I wrote about here). As my tastes expanded, so did my quest for information and then, in late 1978, I discovered a publication that gave me more than I even realised I was after.
issue 1 (which I've never seen in real life) with a wraparound Brian Lewis cover. The image of Spock was added, apparently, because Marvel had the Star Wars licence in the UK and 20 Century Fox were worried they might get upset with another Star Wars covered magazine on the stands.
Starburst magazine was created in 1977 by Dez Skinn who published the first three issues through his own company, often scooping other film magazines with some of his articles. When he was taken on by Marvel UK as their Editorial Director in late 1978, they inherited Starburst and began to publish it from issue 4 onwards. He would go on to edit the magazine until early 1980 (his final issue was 19) when he left Marvel, with Alan McKenzie, who already worked on the title, taking over the reins. Marvel sold the magazine in 1985 at issue 88 and Visual Imagination took it over, publishing it until 2009 when they went out of business (with issue 365). Starburst continued as an online zine and was revived in print in 2012 with issue 374 by Starburst Magazine Ltd, who still publish it today (making it “the world’s longest running magazine of Sci-Fi, Horror and Fantasy”).
I have to confess, I haven’t bought a copy in a long time and didn’t stick with it too far into the 80s either, as I felt it focused too much on TV for my liking and I was never that big a fan of Dr Who. But those early editions were amazing and I read them eagerly from cover to cover, often picking up stray spares wherever I could (I remember finding one - no. 52, with the Krull front cover - at a Bring-and-Buy sale held at my school). Starburst was perfect for me, not only keeping me well informed but also acting as an important stepping stone, bridging the gap from Look-In to my later discoveries of Photoplay and Premiere (and then Empire and Total Film beyond those).
Looking back at the issues in my collection now, some 40 years after the fact, they still seem as fresh and exciting as they were then. It doesn’t matter that they were produced without the huge technological leaps in magazine publishing we've experienced since then or that the lay-out is a bit blocky (those were the typeset days, after all, with titles produced with sheets of Letraset), the content more than made up for it.
The news section (called "Things To Come", it featured, among a fair amount of gossip, some real gems - I hadn’t remembered that we knew The Empire Strikes Back was called that as early as 1978), the articles and book reviews, in-depth features and film reviews (that weren't afraid of saying exactly what they thought), the design and writing, all of them gave Starburst a distinct identity. Wonderful writers - like John Brosnan and Tony Crawley, amongst many others - were opinionated and enthusiastic, genre-savvy and full of confidence and their words dance off the page. Sometimes things clunk badly - John Brosnan wasn’t the biggest fan of Empire and Tony Crawley didn’t think Halloween (1978) would endure but had a good feeling about The Black Hole (1979) - but you can’t deny the passion with which they made those statements. In fact, the only thing that hasn’t worn well is the reproduction quality of the photographs, which look a bit washed out and are sometimes hard to discern. Certainly, whilst the coverage of Invasion Of The Body Snatchers (1978) is thorough and well-written, the photos make it seem a bit seedy (which I like) while one of an explosion is little more than a blob of white. But regardless, reading Starburst made me feel as if I belonged to a group of like-minded folk, in the same way that reading early Fangoria issues later on in the 80s would.
I got a lot out of Starburst as the 70s eased into the 80s (and looking at some of the films covered, it truly was a wonderful time to be a genre fan) and re-reading them now in celebration has been a lot of fun (and illuminating, in a few cases). 40 years on, it’s clear to see the debt owed by today’s film magazines but I wish they had at least half as much swagger as Starburst did back in the day.
Happy birthday Starburst and thank you, for showing a young film fan the promise of a much bigger world out there.
issue 5, December 1978 (the first one I remember owning)
issue 8, March 1979 (this includes those wonderfully seedy images from Invasion Of The Body Snatchers)
issue 12, July 1979 (including a fantastic 5 page interview with the great Derek Meddings)
issue 14, September 1979
issue 22, May 1980 - this must have seen my first brush with David Cronenberg (never heard him described as the King Of Fantasy before...)
issue 23, June 1980 (in which John Brosnan reviews Empire thoroughly - he wasn't overly keen, especially on it being open-ended.)
issue 24, July 1980 - Star Wars, Alfred Hitchcock AND Caroline Munro? Wow! The Hitchcock appreciation by Tony Crawley is wonderful and the Mark Hamill and Caroline Munro interviews are interesting.
issue 33, April 1981 - what a terrific cover! And nice to see David Cronenberg has been promoted to the King of Horror!)
issue 34, May 1981
issue 40, November 1981 - I love the juxtaposition of this cover, the incredible bloodiness of American Werewolf (which I wrote about here) alongside Disney. Would a print magazine get away with that cover now?
issue 51, October 1982 - not a big fan of the new logo
issue 52, November 1982, the one I found at the bring-and-buy sale
issue 53, December 1982 (Tony Crawley, whose writing and style I liked, wrote the terrific biography The Steven Spielberg story", published in July 1983, which I read a lot)
issue 61, August 1983 - probably one of the last issues I bought
scans from my collection except issue 1 from Dez Skinn
As regular readers will know, I'm endlessly fascinated by the behind-the-scenes process on films, especially special effects work with miniatures and/or matte paintings. I posted my first miniatures blog (which you can read here) back in October 2014 and have subsequently written ones about the James Bond series, Derek Meddings, The Indiana Jones original trilogy and ILM (which can all be found on this link).
Miniatures are scale models used to represent things that aren't there, are too expensive or difficult to film in reality, or which can't be damaged (by fire, flood or explosion) in real life. They've now largely been replaced by (often terrible) CGI but the old ways, the practical art, does seem to be making something of a comeback.
I thought it was about time to post some more so here's another selection, hopefully highlighting occasions where it's not immediately obvious that you're looking at a miniature.
Close Encounters Of The Third Kind (1977, directed by Steven Spielberg)
visual effects supervised by Douglas Trumbull
Greg Jein works on the roadway for the scene where Richard Dreyfuss looks at his maps
Moonraker (1979, directed by Lewis Gilbert)
visual effects supervised by Derek Meddings
Filming Moonraker 5 coming in to dock at the space station
Escape From New York (1981, directed by John Carpenter)
visual effects supervised by Robert & Dennis Skotak
Building Manhattan island
The Terminator (1984, directed by James Cameron)
visual effects supervised by Gene Warren Jr
Setting up for the truck explosion
The Abyss (1989, directed by James Cameron)
visual effects supervised by John Bruno, Steve Johnson (aliens) and Dennis Muren (ILM cgi)
Building the Deepcore miniature
Backdraft (1991, directed by Ron Howard)
visual effects supervised by Scott Farrar
Building a factory to blow it up...
Independence Day (1996, directed by Roland Emmerich)
visual effects supervised by Volker Engel, Ray McIntyre Jr., Douglas Smith and Craig Barron
A perfect example of an invisible effect - model aeroplanes, painted backdrop and great lighting
Con Air (1997, directed by Simon West)
visual effects supervised by Mark Dornfeld, David Goldberg and John Matakovich
Setting up the shot where the plane hits the Hard Rock Cafe guitar
The Lost World: Jurassic Park (1997, directed by Steven Spielberg)
visual effects supervised by Dennis Muren (ILM)
The ILM model unit (supervised by Lorne Peterson) films the freighter crashing into the San Diego dock
Men In Black (1997, directed by Barry Sonnenfeld)
visual effects supervised by Rick Baker (creatures and make-up) and Eric Brevig (ILM)
Although the Arquillian and the jewellers head were created life-size by Rick Baker, the intricate puppeteering required a larger format creature be used for some shots. ILM built the head casing, Baker the alien, a collaboration that works perfectly.
Armageddon (1998, directed by Michael Bay)
visual effects supervised by Craig Barron, Mark Dornfeld, Richard E. Hollander, Richard Hoover, Pat McClung, Erik Nash, Bruce Nicholson, Hoyt Yeatman and Ariel Velasco-Shaw
Lining up the shuttles
The X Files (1998, directed by Rob Bowman)
visual effects supervised by Mat Beck, Gray Marshall, Peter W. Moyer and John Wash
Blowing up the large scale miniature Dallas federal building
War Of The Worlds (2005, directed by Steven Spielberg)
visual effects supervised by Dennis Muren (ILM) and Ian Hunter (New Deal Studios, Inc)
Working on the church miniature for the first Tripod reveal
Skyfall (2012, directed by Sam Mendes)
visual miniature effects supervised by Steve Begg
