British 7″ Vinyl Single, Goldeneye James Bond 007 Movie Soundtrack Theme (45RPM) Sung By Tina Turner, Written By U2 Singer Bono Vox And His Group ‘Bono & The Edge’ Catalogue Number R007LH Juke Box Single Edition
Side A: Goldeneye / Side B: Goldeneye (David Morales Club Edit)
Parlophone Records, England 1995

7″ Single Complete Collection Overview
2018_06_09 (WEEK23/2018GOODIE)
Source: 007 James Bond Collector Memorabillia



British Smirnoff ‘Goldeneye’ POS (Point Of Sale) Sweepstake Shop Band (10m) With 20 “Pure Thrill” Banners (21x30cm) ‘Phone-In To Win One Of 100’000 Tickets To See The New James Bond Movie Goldeneye!’
UIP/Smirnoff, England 1995
Smirnoff James Bond Releases Overview
2018_06_08 (WEEK23/2018)
Source: 007 James Bond Collector Memorabillia



New images have been released of the interior of 007 ELEMENTS, the new James Bond cinematic installation built inside the summit of the Gaislachkogl Mountain in Sölden, Austria. Housed in a striking new architectural structure, designed and created by Obermoser Architects, 007 ELEMENTS is an interactive, immersive and educational experience that places visitors inside the world of 007 while revealing how that world is made. It opens to the public on 12 July 2018.
Visitors enter 007 ELEMENTS via the Barrel of the Gun, an atmospheric anteroom. This space focuses on two fundamentals that are synonymous with the James Bond films, innovative title sequences and dramatic, spine-tingling music.
In the open-air Plaza, the imposing angles of the building’s architecture frame the mountain panorama. The sharp angles recall the work of famed Bond Production Designer Sir Ken Adam who was the primary influence on the building’s design.
The Lobby echoes the type of antechamber that Bond often enters upon his arrival at a villain’s lair. It features an exclusive film that is narrated by SKYFALL and SPECTRE Director Sam Mendes, which takes the visitor through the history of the James Bond films, from DR. NO to SPECTRE. Mendes also describes his own personal connection to the series.

This room features an innovative piece of immersive digital theatre designed to showcase the characters and dialogue from the Bond films in a fresh and exciting way.
Actress Naomie Harris, who plays Moneypenny, narrates an exclusive film that explains how the series’ scriptwriting has led to location choices, and how these locations have, in turn, inspired some of the series’ most iconic studio sets. Special attention is given to the locations that form the story-scape for Spectre’s Austrian action sequence.
This spectacular glass viewing space looks north over the Gletscherstraße, a filming location that was used in SPECTRE.
The Tech Lab explores some of the cutting-edge technology that features in the Bond films. This state-of-the-art space allows visitors to interact with the technology and to explore some of the legacy props and digital creativity used in a James Bond production.
This is an installation that centres on the work of the special effects and stunt departments. It features the front portion of the aircraft that Bond pilots in SPECTRE. Visitors will also get a behind-the-scenes look at the exact make-up of SPECTRE’s thrilling mountain chase sequence.

In the Screening Room guests can watch the Austrian action sequence from SPECTRE with a fresh understanding of how it was created.
The Legacy Gallery allows visitors to discover an extensive 007 archive through interactive touch screens that dip into EON Productions’ archive vault. Exclusive 007 merchandise is also available for purchase.
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German Smirnoff ‘The 007 Goldeneye Challenge’ Flyer (105 x 45mmm) Phone In And Win: First Price ‘One Week On The Tracks Of James Bond’ In England, Monaco And Switzerland. Second And Third Price, Complete James Bond VHS Video Series From Dr. No To The Living Daylights (16 Tapes). 4th To 20th Price, A James Bond VHS Tape Film, And 5 James Bond ‘Goldeneye’ Soundtrack CD As Additional Weekly Wins
Smirnoff, Germany 1995
Smirnoff James Bond Releases Overview

2018_06_07 (WEEK23/2018)
Source: 007 James Bond Collector Memorabillia



British Currys ‘Cinema At Home’ Promotions Brochure (8 Pages) Features An Unique James Bond ‘Goldeneye’ Artwork On The Frontpage. Free Guide To Cinema At Home Featuring Dolby Pro-Logic Surround TVs, Audio Systems And Widescreen Televisions
‘An Introducing To Cinema At Home’ The Addition Of Dolby Pro-Logic Reproduces Surround Sound In The Same Way But Also Makes Speech Appear To Come From The Screen, Either By Incorporating An Additional Center Speaker, Close To The Screen, Or By Feeding The Dialogue Through The Front Speaker. The Brochure Features Products From Nokia, Panasonic, Sony And Toshiba
Also Includes As Sweapstake To Win ‘A Bond Goldeneye Holiday Of A Lifetime’. And Gift With Purchase Promotion, Get Up To Eight ‘Goldeneye’ Cinema Tickets When You Buy Selected Cinema At Home Products
Currys, England 1995

2018_06_06 (WEEK23/2018)
Source: 007 James Bond Collector Memorabillia



Arrogant, amoral, cruel, Emilio Largo (Adolfo Celi) is SPECTRE operative No.2 in charge of the extortion operation. He loves the finer things in life — his villa in Palmyra including a shark pool, his luxury yacht the Disco Volante — but his exquisite tastes masks a ruthless streak.
In THUNDERBALL (1965), Largo leads a plot to hijack a bomber carrying two hydrogen bombs and extort $280 million from the NATO countries by threatening to blow up the USA and United Kingdom.
Largo’s plot to steal the aircraft begins with altering the appearance of SPECTRE pilot Angelo Palazzi (Paul Stassino) to resemble NATO air man Francois Derval (also Stassino), who is subsequently murdered by Palazzi. After Palazzi intentionally crashes the NATO bomber into the sea, Largo kills him for trying to wrestle more money out of his deal from SPECTRE. Largo’s men camouflage the sunken bomber at the bottom of the sea and ferry the nuclear weapons to a sealed underwater cave.
In Nassau, Largo first encounters James Bond (Sean Connery), who also starts up a flirtatious relationship with Largo’s mistress Domino (Claudine Auger), who is the deceased Francois Derval’s sister. A psychological game of cat and mouse ensues as both men understand they are watching each other while never revealing their true intentions.
As the NATO deadline looms, Largo retrieves the bombs but discovers 007 has infiltrated his team. Largo traps Bond behind the doors of the underwater pen. He then takes the Disco Volante to Biscayne Bay but discovers Domino has betrayed him by alerting the CIA the bombs are on board. Filled with fury, he tortures her.
Largo and his men escape out of the underwater hatch to plant one bomb to be detonated if NATO does not pay the ransom. However, as he guides his men underwater, CIA aquaparas engage them in battle. Bond, having escaped the underwater pen, joins the fray and the CIA retrieve one bomb.
Largo returns to the Disco Volante which he converts into a high speed hydrofoil. Bond manages to clamber aboard the speeding craft and battle Largo. When the speeding vessel clips a coral reef at top speed, Bond falls, giving Largo the upper hand in the fight. He aims his gun at Bond but, before he can pull the trigger, Domino fires a spear gun into Largo’s back in revenge for killing her brother.
A dying Largo falls onto the yacht’s controls, causing the yacht to run aground and explode violently — but not before Bond and Domino leap overboard to safety.
The post FOCUS OF THE WEEK: EMILIO LARGO appeared first on James Bond 007.
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From Southbank With Love: Horowitz on his new 007 novel

Ian Fleming has played ‘a huge role’ in his life and he said he is keen to acknowledge this. James Bond continuation author Anthony Horowitz proved to be a highly entertaining, thoughtful and self-deprecating guest when he was interviewed in front of an enthusiastic audience of 007 aficionados at the Southbank Centre (Royal Festival Hall) in central London on June 1st. The JBIFC’s news editor Steve attended the event and provides a nice summary below of the evening’s main features and key revelations.

The Living Highlights

On a sultry Friday evening, the hugely successful author of Trigger Mortis (2015) attended a special interview and book-signing session to help launch and publicise his exciting new 007 adventure Forever And A Day (Jonathan Cape, 2018), which is a kind of ‘prequel’ to Ian Fleming’s very first James Bond novel Casino Royale.

Held in the Level 5 Function Room of the Royal Festival Hall, appropriately against a backdrop of the famous London Eye and nearby River Thames, the wide-ranging interview covered the creative process, influences and background details to the production of Mr. Horowitz’s latest novel, and the best-selling author gave some surprisingly revealing answers, both to his interviewer and also in response to a number of interesting questions from audience members in the ‘Q and A’ part of the evening. Organised in conjunction with Foyles Bookstore (which had a sales stand in the foyer of Level 5), another highlight of the evening was a post-interview book signing session by Horowitz, who was very generous with his signing time and was also happy to chat to the waiting fans and pose for photos.

From a View to a Thrill

By way of introduction, the Southbank’s host interviewer pointed out to the attentive audience that this is Anthony Horowitz’s second James Bond novel, and comes three years after the best-selling Trigger Mortis. And the author’s dive into the Bond pool has proved to be enormously successful, with his first 007 novel Trigger Mortis staying for weeks in the best-seller lists. In a sense, Horowitz had been waiting in the Bond continuation author wings for a long time, hoping to be asked to finally pen a 007 novel, and now his dream had come true (twice!). And twice is the only way to live. (Indeed, Horowitz himself also hinted that he would be interested in a third, if asked. But more on this later).

The special evening commenced with a rapturous round of applause for the popular author as he took his chair. Responding to some close questioning from the interviewer, Horowitz started off by reflecting on the origins of James Bond and also on his own love affair with Ian Fleming’s hero and novels, a series of books which Horowitz regards as exceptionally well-written. He pointed to the incredible cultural impact that Fleming’s creation had also exerted on the post-war world, especially on a rather grey Britain which was just recovering from a period of shortages, rationing and relative loss of power in the world.

Horowitz cited a letter penned by Ian Fleming, where the Bond creator had written to the real-life Mrs. James Bond, a letter in which Fleming had ‘sort of apologized’ (in a humorous way) for having ‘borrowed’ the name of her American husband, James Bond (who had been a relatively unknown expert on the birds of the West Indies). In the letter, Fleming said he recognised how he had made the rather innocuous name ‘James Bond’ into one of the most famous names in the world and, in return – and by way of recompense – he said he would offer Mrs. Bond’s husband ‘unlimited use’ of the name ‘Ian Fleming’! ‘James Bond’ had become a global brand, and had become one of the best-known fictional secret agents in popular literature.

Horowitz talked about his own schooldays and about when he first encountered the world of James Bond: he had discovered the work of Fleming via the film tie-in printing of Dr. No in 1963, and the book proved to be his temporary escape from the horrors of prep school (he disliked his schoolday experiences intensely). Bond, and his escapist adventures, offered ‘a whole new world’. Horowitz also recalled seeing the movie version of Dr. No and the memorable moment when Ursula Andress emerged from the sea, a truly iconic moment which left a big impression on the young schoolboy. This experience put Horowitz on to Fleming’s other books. And, on reading the books avidly, the young Horowitz quickly realised there was another world – an exotic and exciting world of thrills and danger. His discovery of Fleming, he said, also put him on to the world of general thriller writing. And, mainly due to Ian Fleming, Horowitz realised that he also wanted to write books to thrill audiences.

Double-O Three

Asked to reflect on any other influences apart from Fleming, Horowitz said he had been inspired also by two other characters above all: Herge’s Tin-Tin and all the adventures that the young Belgian schoolboy detective had been involved with. Horowitz said, in particular, as a youngster, he had been fascinated himself by secret passages and secret panels, and every time had had visited a mansion he had spent time tapping curiously on the walls to see if he could find any such passages. The adventures of Tin-Tin seemed to be full of this kind of secret intrigue and mystery. He recalled one Tin-Tin adventure where a tree had opened up to reveal a secret spiral staircase leading down into the ground, which had seemed (to the young Horowitz) like something straight out of a Bond story (Horowitz, of course, later on in his career, penned some Tin-Tin screen treatments for the director Steven Spielberg.

The other big influence on Horowitz’s writing career, he said, had been Conan Doyle’s fictional detective Sherlock Holmes  – he loved the Holmes stories. Again, later in his career, had been given the fantastic opportunity to write two brand new Sherlock Holmes adventures, which had been a real pleasure for him. And, he revealed, he will pen a third Sherlock Holmes novel in the near future. Horowitz said that, when he had been offered the chance to write a Holmes book, he had taken about ‘half a minute’ to accept! So, Bond, Tin-Tin and Holmes: all three characters were inspirational and he was able to work on all three in later life. He felt very privileged to be able to do so.

Towards Double-Zero

Returning back to the world of 007, Horowitz told his interviewer that James Bond was ‘irresistible’ as a fictional character. When he writes a Bond book, Horowitz said he imagines trying to ‘stand back’ and ‘be invisible’ in order to do justice to Fleming and his writing style. Horowitz said he would never fundamentally alter the character of Bond – for example, he would not stop Bond smoking. He also recognised, and wanted to capture, some of the sheer pain that Fleming put his creation through. So, in terms of the storyline structure to Forever And a Day, Horowitz had ensured that there were some gruesome and drawn-out moments of this kind: there is a killing in chapter 1, and also a killing in the final chapter. What comes between these two points, said Horowitz, is the story of Bond ‘becoming Bond’. Horowitz also admitted he liked thinking up ‘interesting deaths’!

Returning back to this theme during another stage in the evening, Horowitz said the Young Bond author Charlie Higson had also spoken to him at one point in Istanbul, and advised that Bond ‘must get really hurt’, as it is a feature of most of Fleming’s 007 books. There is a lot of physical pain going on in the Bond stories.

Regarding the other key characters in the new book, Horowitz said he wanted to pen a ‘fun book’, which was a lot of fun to write, and also would be fun to read. But creating new and interesting characters in a Bond story was challenging still challenging, and the villain, in particular, is ‘hard to get right’. Fleming had always been good at giving his villains memorable quirks or features.

In this case, the main villain of Forever And A Day (Scipio) is especially fat due to a childhood trauma, and Horowitz had had to do some careful research to get the details of the condition correct. Similarly, he said, the main ‘female associate’ (publishers today tend to discourage the use of ‘Bond woman’) in a 007 story is also hard to get right. Horowitz said, in this case, his creation (named ‘Sixtine’) had to be a match for Bond: very smart, tough and a woman for the ‘Me Too’ generation.

Furthermore, Sixtine was instrumental in other ways: she helped ‘shape’ Bond into the man he became, and helped him develop a taste for certain things, such as (what eventually became) his favourite Morlands cigarettes.

Interestingly, Horowitz (who sits on the Board of the Old Vic Theatre in London, which has to raise its own money), said that a woman in the book named Joanne Brochet is based on a real person: Joanne McPike, who had made a substantial charitable donation to the Old Vic via an auction. She was one of the two who had won the auction. The deal was that, in return for doing so, she would appear as a character in the new Horowitz Bond novel. And, much to Horowitz’s delight, McPike had led a very interesting life, and he had been able to take some key features from her life and invest them in the fictional character in the novel. Apparently, there is also another real-life person who has a presence in the new book, who had also made a donation to the Old Vic and won a role in the book, and had (in essence) ‘paid to be killed’!

The Challenge of Bond

Horowitz also offered some revealing comments on the creative processes involved in writing the new 007 novel, which is set (he said) only three months or so before Casino Royale. In particular, he had to find things that could happen to Bond that hadn’t been done before by previous authors – this was difficult, as many things had been done already. Moreover, Ian Fleming had a style and a language that was very difficult for other authors to do. this included certain features of Bond’s own personae. Bond, Horowitz pointed out, has ‘accidie’: a tiredness with the world. This was one of the hardest things to get right, as well as 007’s fastidious tastes in food. Bond’s breakfast, for example, was one of the most important times of his day, and he had developed a ‘ritual’ around this. This was because, Horowitz suggested, Bond wanted ‘order’ before approaching the ensuing ‘chaos’ of fighting villains.

The post-interview ‘Q and A’ section also proved very interesting for the evening’s keen audience, and Horowitz did his very best to respond in detail to most of the questions asked. He also pointed out that it was one of those rare occasions where the audience knows much more about the subject than the author! However, he rose to the challenge really well. At one point, when asked about the time context of Bond, Horowitz said he felt it was important to have Bond placed in a ‘Cold War context’. It was a world that had only just emerged from the struggles of World War Two (and Fleming himself had been a wartime Intelligence officer), and it was a world where lots of British people were beginning to hanker after luxury goods and exotic holidays abroad after years of tough rationing and personal sacrifice. Bond, especially as written by Fleming, had offered the post-war reading public a glimpse of a life ‘that could be’, a vision that gave them hope – a life of sun, better wages, better quality consumer goods and plenty.

In reference to who he saw as Bond in his mind’s eye when writing about the character, Horowitz admitted he tended to see Sean Connery’s face when picturing Bond, with perhaps a bit of Daniel Craig in there, too, to give his writing some ‘extra edge’.

On the question of whether Bond is still ‘relevant today’, Horowitz reminded the audience that Bond ‘is a fantasy character’, and the question is actually very difficult to answer. The Bond films, although brilliant, had (in a sense) got in the way and made people forget the brilliance of the books and how Fleming had made the character relevant for his particular time. Horowitz added that he had read something recently which had impressed him a lot and captured the core of the Fleming books: Ian Fleming had ‘technologised the fairy tale’, which Horowitz thought perfectly summed up what the Bond creator had achieved.

On the question of his own favourite characters in the 007 books apart from Bond, Horowitz said he was very fond of Auric Goldfinger as a character, but his particular favourite was a woman who had not died: he adored Rosa Klebb. Given the chance, he said, he would bring Klebb back.

Regarding the unused Fleming material that he had been able to use in both Trigger Mortis and Forever And A Day, Horowitz explained that Fleming had written ‘quite a lot’ of treatments for a proposed Bond TV series (which, of course, did not happen), and had eventually used some of this material himself. But when the Fleming Estate had gone through the Bond author’s papers a few years ago, they had come across five unused treatments. Horowitz was able to use one of these (‘Murder on Wheels’), which had dialogue, almost word for word for one of his chapters in Trigger Mortis, while another treatment (which was narrative only) was utilised for the new Bond novel.

He revealed that there are still three more treatments to go that could still be used, one set in Australia and another in the USA. In fact, Horowitz said it had given him real excitement to personally go through this material, and also through the original typescripts of Fleming’s novels, with their annotated notes by Fleming himself, and this had made Horowitz feel ‘very close’ to the author, and had helped him try to capture the core of Fleming in his own work.

On the tricky question of titles for the Bond books, Horowitz acknowledged that this challenge was ‘a nightmare’ – coming up with a suitable title for a new Bond book was ‘very difficult’. He noted Fleming had been very good at it, but even the Bond creator had found it difficult at times. Fleming loved puns in his book and chapter titles, and his titles were often based on familiar titles and sayings e.g. ‘Live and Let Die’, ‘Crime de la Crime’, and so on. Horowitz said he had liked Jeffery Deaver’s Carte Blanche as a title and wished he had thought of that one! He said getting the title right for the new book was one of the ‘hardest parts’ of the whole experience. Forever And A Day had been one of three possible titles for the new novel, which had all been submitted to the Fleming Estate for possible consideration. One of the three possible titles had been Towards Double-Zero, which Horowitz had been quite fond of, especially of the word ‘Towards’. But the Fleming Estate had felt (in the end) that that particular title did not quite work, and they preferred Forever And A Day.

Bond Another Day?

On his future writing plans, Horowitz revealed that he will write another Alex Rider spy book, entitled Nightshade, as part of his hugely successful Rider series (19 million copies have been sold worldwide), a book which he will work on next year. He said he also wants to do ‘one more’ Sherlock Holmes book, to add to the the two he has already written (The House of Silk and Moriarty). He was especially interested in the reference to the ‘Rat of Sumatra’ in one of the Conan Doyle Holmes stories.

I thoroughly enjoyed listening to Anthony Horowitz. I thought he has a great sense of humour, and it was really satisfying to be able to thank him afterwards for the hours of pleasure he has given me through his books, both Bond and non-Bond. After getting my copy of his new 007 adventure signed by him personally, and shaking his hand, I left the Level 5 foyer even more convinced that Horowitz is perfect for his role as Bond author and as keeper of the Fleming flame.






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Italian ‘Goldeneye’ Due-Foglio / 2 Sheet (1000 x 1400mm) Poster (Special Thanks To Marcel Elsener)
UIP/United Artists, Italy 1995
‘Goldeneye’ Various Poster Editions Overview
2018_06_04 (WEEK23/2018)
Source: 007 James Bond Collector Memorabillia


REPORT 00283 WEEK22/2018

This Week Collection Focus Has Been On ‘Ian Fleming’, Review Week 22/2018 Report Number 00283 Find Out More
Dailygrowing Collection Weekly Report Since December 2012 Overview
Source: 007 James Bond Collector Memorabillia



Canadian Downtoscale Hand Made James Bond 007 Figures Series, Number 01P-90MM James Bond 007 Creator Ian Fleming (1908 – 1964). Limited Hand Painted Edition, Number 01 Of 40 Resin Figures Diorama Approximate Scale 1:24 / The First In 90mm Scale
D. & M. McNally, Canada 2018
Downtoscale Figures Series Collection Overview
2018_06_02 (WEEK22/2018GOODIE)
Source: 007 James Bond Collector Memorabillia