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.
Following on from the Raiders Of The Lost Ark behind-the-scenes retrospective I wrote in 2016 (which you can read here), I thought I'd take a look at the behind the scenes artistry of Indiana Jones And The Temple Of Doom and Indiana Jones And The Last Crusade.
Temple Of Doom was released in the UK on 15th June 1984, with The Last Crusadefollowing five years later, released on June 30th 1989. Happy anniversary (35 and 30 respectively) to them both. Indiana Jones And The Temple Of Doom (1984)
visual effects supervised by Dennis Muren
With Richard Edlund leaving ILM to set up Boss Films, it fell to Dennis Muren to supervise the effects for Temple Of Doom (a role he’d also held for Spielberg’s ET: The Extra Terrestrial). The effects list was large - Temple Of Doom is more effects oriented than Raiders - but ILM was ready, fresh from the challenge of Return Of The Jedi (which was released in 1983).
Miniature work
Although a vintage Trimotor was filmed for the escape from Macao, shots were supplemented with a highly detailed miniature constructed by Mike Fulmer and Ira Keeler. For the shot of it flying over the Great Wall Of China, a forced perspective model of the landmark was constructed by Dream Quest Images. When the plane crashes, a miniature mountaintop (twenty feet square) was built on the roof of the ILM building, the snow a combination of baking soda and micro balloons (tiny glass beads), with the aircraft suspended on a wire.
How it looked in the film
As part of the Thuggee ceremony to the goddess Kali, a sacrificial victim is lowered into a pit of lava. For this, a thirty-foot-tall pit was built over a ten-foot diameter plexi-glass tank which had almost five tons of glycerine pumped through it. The victim puppet was thirty inches tall and mechanised so the arms and head would move realistically but initial result was too gruesome and Spielberg asked for more flames and smoke to be added to the shot to mask it.
left - Paul Huston with the "lava" tank; Joe Johnston, Phil Tippett and Ira Keeler with the victim puppet
The mineshaft chase - a hold-over from Raiders Of The Lost Ark - grew from a relatively quick sequence to one of the key set-pieces. Although a full-sized version was built at Pinewood, it quickly became clear that wider and longer shots would have to be completed by ILM. Muren said, in interview, “in order to build these longs sets, the size was really dependent on the camera, of all things, because [it] had to go through the tunnels. I came up with this idea of just using a Nikon still camera [which] meant that all the sets could be smaller, they only needed to be 100 feet long instead of 300 feet long.” The camera motor was slowed down and a special magazine was built to hold fifty-feet of 35mm film. To scale, the mine cars were ten-inches long and the cave walls were heavy-duty aluminium foil, shaped and painted. The puppets in the cars were animated by Tom St Amand, who’d also animated the bike riders in ET.
The converted Nikon camera
Tom St Amand stop-motion animates the Indy, Willie and Short Round puppets
Paul Huston works on the miniature mine set
During the mine chase, the giant water tank (which was thirty-feet-tall in the actual set at Pinewood) is overturned, flooding the caves. Since it would have been difficult and dangerous to film this life-size, it was turned over to the miniatures crew, under the supervision of Lorne Peterson, who built a large-scale (twenty-five-feet wide by thirty-feet long) miniature in the ILM car park. A 1,300 gallon dump tank was built over the set and the floors and walls of the caves were supported by waterproof roofing materials, urethane and concrete.
The outdoor miniature cliff set (with the painted side piece - see below)
Once out of the tunnel, the shot was a combination of a matte painting with miniature elements - the water, carts and debris - built in the car park again.
Matte paintings
The matte department - supervised by Michael Pangrazio, with Christopher Evans, Frank Ordaz and Caroleen Green - produced twenty paintings for the film, most of which were used to represent the Maharaja’s Pankot Palace (the production wasn’t allowed to film in India). For the sunset shot (see below), a cut-out silhouette was photographed on a hill with the sun setting behind it. This was then combined with a matte painting to produce a hazy, backlit effect.
Michael Pangrazio's backlit palace
Indiana, Willie & Short Round at the entrance to the Pankot Palace
Clever combination of a Frank Ordaz matte painting and a foreground miniature for the "Jaws" shot
After the mine chase, our heroes find themselves on a sheer cliff face with the water close behind them. The live action element was filmed at Pinewood, the river element was filmed at the Grand Canyon and the remainder is a matte painting by Frank Ordaz and Caroleen Green.
Both of the village sequences, at the start and end of the film, were elaborated with paintings. For the desolate version, the matte covered up the fact that everything was green and alive (the sequence was filmed on a tea plantation in Sri Lanka). At the end, as our heroes return with the kidnapped children, the painting extended the background plate which was filmed near ILM with stand-ins.
Modelmaker Lorne Peterson talks about the miniature work in this deleted scene from the Sense Of Scale documentary
Behind The Scenes
Harrison Ford and Ke Huy Quan on location in Sri Lanka
Steven Spielberg talks through a scene with Ke Huy Quan in Sri Lanka
Spielberg and George Lucas on the rope bridge built by Balfour Beatty Nuttal in Sri Lanka. Lucas was apparently unfazed by the bridge, but Spielberg never made it all the way across.
Filming the mine cart sequence on the full-size version built at Elstree Studios
Spielberg, operating the camera, filming on the cliff-face set at Elstree Studios
Indiana Jones And The Last Crusade (1989)
visual effects supervised by Michael J. McAlister
Since Dennis Muren was supervising Ghostbusters 2 and helping create CGI-history with The Abyss, Michael J. McAlister took over the effects supervision role.
Miniature work
After the Jones’ escape from the Zeppelin (which was achieved as both a matte painting and a miniature eight-foot long model) and subsequent dogfight, they steal a car and are chased into a tunnel by a German fighter plane. Since it would be impractical and dangerous to film this full-size, ILM took it on as a miniature. Using quarter-scale models of the car and plane, a 210 foot long tunnel was built in the ILM car park (it took up 14 spaces), broken into eight-foot hinged sections that could be opened to film through.
The tunnel sequence was shot in miniature in the ILM car park, built in sections to allow easy access
As the group make their way to the Grail temple, they come to the Canyon of the Crescent Moon. The first view of the canyon was an ILM shot, which combined a Mark Sullivan matte painting with a miniature set created by Paul Huston.
Top - still from film bottom - taken at the 'wrong' angle, this shows the join between the miniature canyon - built by Paul Huston - and the painted backdrop by Mark Sullivan
The Path Of God was an optical illusion - both in terms of the film itself and the behind-the-scenes solution - that is revealed when the camera moves to the right and reveals the ‘trick’. Since it’s such a brief shot - and Elliot Scott, the production designer, wasn’t sure it could be achieved practically - the sequence was filmed as a miniature (which was 9 foot tall and 13 feet wide). The rock face was carved from green styrofoam by Paul Huston, who also painted the bridge using the locked-down camera angle to make the blend perfect. 35mm stills were taken every hour, developed nearby and checked to make sure that the trick painting was working. It’s a simple though extremely good effect and the artistry, both in terms of modelling and painting, is incredible.
Paul Huston paints the "leap of faith" miniature - superb artistry.
Matte Paintings
Mark Sullivan supervised the matte department whilst Yusei Uesugi was the matte artist.
To film the sequence of the tank going over the cliff, the full-size prop was filmed on a flat spot on location in Spain and kept going, without having to brake for the drop. The edge and cliff face was created as a matte painting, whilst the tank crashing to the bottom was achieved as a miniature, shot in a quarry near to the ILM building.
Matte paintings for the Austrian castle and German airport were based on real buildings. The castle, painted by Mark Sullivan, was based on one in West Germany and made to look larger. The airport was based on the Treasure Island Administration Building, between San Francisco and Oakland, which had the appropriate Art Deco architecture. The matte, painted by Yusei Uesugi, added a control tower, Nazi banners, vintage automobiles and the ‘Berlin Flughafen’ sign.
The Zeppelin - film still - the man on the tractor and the people are live action, everything else is a matte painting
Special Effects Make-up
Supervised by Stephen Dupuis
Reviving an idea from Raiders Of The Lost Ark (this would have happened when the Ark was opened but technology at the time prevented it), Spielberg only agreed to the rapid and fatal deterioration (dubbed “Donovan’s Destruction” by ILM) if it could be done in camera in one continuous shot. Julian Glover spent three days shooting the live action scenes at Pinewood and then ILM took over for the remainder. Using a cast of Glover, a latex head was built with motion control mechanics that sucked the cheeks in and pulled the nose back. At its most ‘decayed’ position, a cast was taken for a second head that aged even further - the nose went completely, the eyelids shrivelled and the mouth curled. At that stage, a third head was cast and built up over a skull.
Stephen Dupuis works on the different heads
All three heads were filmed on a motion-control-rig to control their movement. As McAlister explained, “As Donovan disintegrated, we wanted to be able to cut from the first head to the second at the best possible point, and then from the second head to the third. By having all three heads go through the exact same motion in the frame, we could then choose any point to make the transitions between them.” The blend between each head was achieved using morphing, a computer effect still in its infancy at the time - ILM had created it for Willow (1988).
The scene plays out over Elsa’s shoulder, so the first head was shot on a torso with Alison Doody’s double in front of it whilst the second and third heads were shot without her. In addition, Donovan’s clothing had to deteriorate and McAlister was directed to the textile research facility at the Smithsonian Institute. When he explained what he needed - to rapidly age clothing without using dangerous acids - his contact, Mary Baker, suggested he try “ILM, they can do anything.” Baker was then involved in preserving the Yoda puppet for the Smithsonian travelling Star Wars exhibit and she went to ILM to train the crew in the handling and use of the acids involved.
Behind The Scenes
At ILM, George Lucas shows off some of the filming models to Harrison Ford
Filming on location in Jordan, George Lucas holds onto Sean Connery's horse
George Lucas, Steven Spielberg and Harrison Ford are joined on set by Warwick Davis
Filming the tank battle in Spain
Steven Spielberg adjusts the Donovan puppet on the ILM stage
Look out for more miniatures, matte paintings and make-up posts to come!
