Bond On Bond (29 page)

Timothy was quoted as saying, ‘My feeling is this will be the last one. I don’t mean my last one. I mean the end of the whole lot. I don’t speak with any real authority, but it’s sort of a feeling I have. Sorry!’

However, a major spanner was thrown in the works when MGM/United Artists was sold to the Australian-based broadcasting group Qintex, which in turn wanted to merge the company with Pathé. In doing so, the Bond back catalogue was licensed to Pathé for broadcast at sums below what was considered the commercial rate. Danjaq sued.

Eon commenced pre-production of another film in May 1990, and some details were unveiled at the Cannes Film Festival around the same time, mentioning that a detailed story draft had been written by Alfonso Ruggiero Jr and Michael G. Wilson.

However, owing to the ongoing legal disputes, the production of Timothy Dalton’s third film was postponed several times. In an interview in 1993, Timothy said Michael France was writing the story for the film, which was ‘due to begin production in January or February 1994’.

With continuing delays and uncertainty, Timothy’s six-year contract expired in 1993 (which was originally scheduled to be the year of his fourth film), and after he read Michael France’s screenplay for Bond 17 he made, and subsequently announced, on 12 April 1994, his decision to leave the series. It was now five years since his last outing and he felt the time had come to move on.

It had been reported in the press that the Broccolis were supposedly under pressure from MGM to replace Timothy. Whether that was true or not I don’t know, but Eon respected his decision and did not to stand in his way. The search was on for his replacement.

Timothy said at the time of his resignation, ‘Even though the [producers] have always made it clear to me that they want me to resume my role in their next James Bond feature, I have now made this difficult decision. As an actor, I believe it is now time to leave that wonderful image behind and accept the challenge of new ones.’

By this time, Cubby’s health was suffering and my dear friend could no longer be as active in the new production as he would have liked. When I saw him for one of the last times at his home in California, he told me of his excitement at casting Pierce Brosnan, and that Michael and Barbara would be taking the helm.

Pierce was unveiled as the new 007 on 7 June 1994 in London, while sporting a full beard for an upcoming TV movie of
Robinson Crusoe
. His first outing was to be called
GoldenEye
, after Ian Fleming’s home in Jamaica, and was to be one of a three-film contract (with an option for a fourth). Pierce also separately negotiated a production deal with MGM for his own films, the most successful of which was
The Thomas Crown Affair
.

When that fourth film option was picked up, and a press launch arranged at Pinewood for
Die Another Day
in 2002, Pierce was, of course, asked if he’d be doing any more. He replied that he’d like to do one more, a fifth. Plans swung into action for a fifth film in 2004, and some suggested it might be an adaptation of Ian Fleming’s
Casino Royale
. Negotiations stalled, and in July 2004 Pierce announced he was leaving Bond behind him, albeit – from what I saw of him – somewhat reluctantly.

The rumour mills swung into overtime on the subject of who would be the next James Bond. Names were bandied around, including Clive Owen, Hugh Jackman, Liam Neeson and Daniel Craig. I personally liked the idea of Daniel Craig, having seen him in
The Mother
,
Munich
and
Layer Cake
. He’s a bloody good actor.

The day before Daniel was confirmed as 007, Barbara Broccoli emailed me to tell me of their choice. I was delighted – and it was my birthday too. However, it seemed, at first, that I was in a minority. The British press all but vilified him: too short, too blond, not good-looking enough, and they took great joy in mocking Daniel for wearing a life jacket on board the military launch that brought him speeding up the Thames to a press conference with waiting journalists.

I had never experienced such a massive hate campaign. Websites were set up demanding Pierce Brosnan be reinstated and peddling very negative comments and opinions about Daniel. I felt hugely sorry for Daniel, as, although he would have turned a blind eye to them, he would have been very aware of what was being said. Concentrating on the positive, he confirmed, ‘We have got an incredible script, and that is my first line of attack. Once I read it, I knew I did not have any choice, I had to go for it. It is a huge challenge, and I think life is about challenges … Together with Martin [Campbell, director], I want to make the best film we can, the most entertaining film we can.’

The doubters were soon silenced – and many were converted.

I didn’t get to meet Daniel until 5 October 2008. We were both at the London Palladium attending the centenary celebration for Ian Fleming; in fact, we shared a dressing room. I arrived early to ensure I got the best mirror, and when Daniel arrived he grabbed me, hugged me tightly and greeted me like a long-lost friend.

His Bond is terrific, and I hope he’ll reign for many years to come.

The only piece of advice I’d offer anyone regarding playing Jimbo is you use what you have in your own personality and be true to yourself, while stealing a bit here and there for added effect.

Nostalgia is quite handy too, as you’ll find people who are rather unforgiving at the time often rediscover you in later life. Many is the time I have been stopped by someone who has thanked me for my Bond films, saying they enjoy them for their entertainment value and how well they still stand up.

In closing, my admiration goes to Barbara and Michael above anyone else, for holding this extraordinary franchise – established by Cubby and Harry – together for so many years. I can see it lasting another fifty.