Tom DeMichael on “Escape from New York” Remake

Twentieth Century Fox recently announced they will be remaking the film, Escape from New York. Modern Sci-Fi Films FAQ author Tom DeMichael weighs in on this announcement in the following post!

00120811Let’s be honest – a guy named “Snake” is always going to raise a few suspicions.

Imagine the parents of a young girl when they’re introduced to her new beau.

“Mom…Dad – This is Snake, and we’re engaged!”


The Snake in our case is, of course, Snake Plissken. He’s the ex-soldier, turned bad guy (then turned good guy) in John Carpenter’s 1981 sci-fi action flick, Escape from New York. Set in 1997, World War III has left America in shambles (the long-recurring dystopian future sci-fi setting) and the Manhattan Island in New York has become a maximum security prison (in other words, the Big Apple has a lot of worms in it.) The US government recruits a reluctant Snake to save the President, who has become a hostage of the inmates. He accomplishes the task, but the whole affair leaves Snake in a more cynical state than when he started.

Escape from New York offered a pretty enjoyable cast, with ex-Disney star Kurt Russell as the eye-patched Snake. Other performers included Donald Pleasance, Lee Van Cleef, Ernest Borgnine, Isaac Hayes, Harry Dean Stanton, and Adrienne Barbeau. It did well at the box office in 1981, grossing more than 25-million dollars and prompting a sequel fifteen years later. Escape from LA brought back Snake, with a new cast of supporting characters. Budgeted at 50-million dollars, the sequel bombed by grossing only half that amount. 

Now, in the opening weeks of 2015, 20th Century Fox has secured the rights for a remake once more. But this isn’t the first rodeo for a remake of Escape. Since 2007, remaking the film has been a recurring topic, first with Gerard Butler slated to play Snake, then Jeremy Renner mentioned. But many movie projects can languish in “development hell” for years, so there’s no guarantee that Snake will be escaping any city very soon.

Understand that movies are remade – not to improve on the original (which hardly ever happens anyway) – but to introduce a “new” product to a new audience. Even with the multitude of alternative sources for films (video-on-demand, DVD/Blu-Ray, digital download, Hulu, etc.,) folks younger than forty or so were barely in kindergarten when Snake first attempted to Escape from New York

So, with Fox obtaining the rights for a remake, they’re hardly concerned about how fans of the original will react – heck, they’re in search of new fans, from a different generation. And, as long as there’s another sci-fi film to keep us engaged and entertained for a couple of hours, that’s all that really matters anyway.

Daniel Craig Confirmed for Bond 25

Columbia Pictures has announced that Daniel Craig will return as James Bond in Bond 25, the 25th film in the James Bond series!  In James Bond FAQ, Tom DeMichael describes the various Bond actors’ individual portrayals of the iconic role. Here’s what DeMichael wrote about the latest Bond star:

Daniel Craig

The sixth official 007 would be flaxen-haired Daniel Craig. As usual, the public reaction was less than supportive, saying heJames-bond-daniel-craig was too short, too blond, or too pug-faced. The vitriol included hate mail to Sony Pictures and Eon Productions, as well as the establishment of an Internet site called “” And Daniel Craig had yet to even order his first martini.

Daniel Wroughton Craig was born on March 2, 1968, in Chester, Cheshire, England. His dad, Tim, was a merchant seaman and eventually ran a pub called Ring O’Bells. Mom’s name was Carol—an art teacher—and the Craigs divorced when Daniel was four. Carol took Daniel and older sister Lia to the working-class city of Liverpool, where Daniel appeared in school plays like Oliver! Craig did find time to rough it up on the rugby fields, but was not the scholarly type, dropping out at age sixteen and joining the NYT—National Youth Theater, with alums that included Dame Helen Mirren, Sir Derek Jacobi, Daniel Day-Lewis, and Colin Firth. Craig toured Europe, while seeking admittance to the celebrated Guildhall School of Music and Drama. His auditions were repeatedly refused, and he waited tables in the meantime (poorly, by his own admission). But Craig was persistent and finally entered Guildhall in 1988 at the age of twenty. With three years of classical training in performance, he graduated in 1991 and was ready to leave the world of table-waiting.

Craig’s first film role came the next year, as he played a soldier in the John Avildsen–directed Power of One, which starred Morgan Freeman, Sir John Gielgud, and Stephen Dorff. His next ten years were steadily spent on British television shows and miniseries, as well as feature films.

Daniel Craig’s first prominent role
came in 2001, teaming up with Angelina Jolie as they searched for lost treasure in Lara Croft: Tomb Raider. He followed that up by playing Paul Newman’s crooked son in 2002’s Road to Perdition. Craig played poet Ted Hughes to Gwyneth Paltrow’s poet Sylvia Plath in the 2003 biopic Sylvia. His roles as XXXX, the anonymous drug dealer, in 2004’s Layer Cake, and an assassin in Steven Spielberg’s Munich in 2005, filled Craig’s résumé with enough firepower to justify his appointment as James Bond in 2006’s Casino Royale.

Justly, Craig’s take on JB changed a lot of opinions from negative to positive. Fans and critics alike appreciated his vicious physicality, his “rough-around-the-edges” charm, and straight-out acting talent. Dame Judi Dench—Bond’s boss, M, in the latest films—called Craig “a cracking good actor.” His performance in Casino Royale garnered something no other Bond actor had achieved—a nomination as Best Actor by BAFTA, the British Academy of Film and Television Arts (the equivalent of the American Academy of Motion Picture Arts and Sciences, which gives out America’s Academy Awards). Former Bonds, including Brosnan and Connery, gave their approval of the actor. Sir Sean Connery himself, appearing in the 2008 “James Bond Special” on the British TV program The South Bank Show, said Craig was “fantastic, marvelous in the part.”

00314951No doubt, Daniel Craig had done his homework in tackling the role. He knew the physical part would be key, working out with a personal trainer. He told an interviewer in a 2008 interview in Playboy, “I got big because I wanted Bond to look like a guy who could kill.” Craig also gave much thought to what this Bond would be. In another interview, this time in a 2008 Parade magazine, he wondered about 007, “Am I the good guy or just a bad guy who works for the good side?”

The actor took his rough-and-tumble Bond into Quantum of Solace in 2008. When he accidentally cut the pad of his finger off during a fight scene, Craig made light of the incident. “There’s nothing to tell about it,” he told an interviewer in a 2008 British edition of GQ, joking, “I lost my fingerprint so I can now commit all sorts of crimes with that finger. I look forward to that.”

Craig was also able to look forward to a third Bond film, following a two- year delay due to bankruptcy issues with MGM. Production of Skyfall, the twenty-third official film in the James Bond franchise, began in November 2011, with release scheduled to coincide with the fiftieth anniversary of the UK release of Dr. No in November 2012. Furthermore, producer Michael C. Wilson announced plans for Craig to be 007 for five more films (up through Bond 28). At the rate of a Bond film every two years, that would make Daniel Craig fifty-four years old (four years younger than Moore when he abdicated the throne) when that last film is released in 2022. Not at all an unreasonable expectation, but time will tell.

Happy Birthday, Pierce Brosnan!

A very Happy Birthday to one of our favorite Bonds! To celebrate, check out this excerpt from James Bond FAQ that describes how Brosnan rose to Bond-dom:


00314951Pierce Brosnan was well known as the title character of private investigator Remington Steele, from the NBC-TV show of the same name. But that notoriety nearly cost him the role of James Bond.

Pierce Brendan Brosnan was born in County Meath, Ireland, on May 16, 1953. He was an only child to mother May and dad Thomas, a carpenter who walked out on the family after only a few years. May moved to London to seek work as a nurse, leaving Pierce to move among relatives, friends, and even a Christian Brothers mission. In a 1997 interview in Cigar Aficionado magazine, Brosnan admitted, “It wasn’t all bleak . . . you learn how to create your own happiness.” When May remarried, eleven-year-old Pierce joined the couple in London. One day, stepdad William took the boy to the cinema to see a film called Goldfinger. Young Pierce was very impressed, realizing “James Bond was very cool.”

Brosnan attended school to be a commercial artist and landed an apprentice job in a small South London studio at the age of eighteen. But he had become enamored with movies and, at the urging of a coworker, joined up with a local theater workshop. Soon, they had formed the Oval House Theater Company, and Pierce quit his art job. He waited tables, cleaned houses, anything that allowed him to be free to act in the evenings. Brosnan attended drama school, acting in repertory theater and London West End productions like The Red Devil Battery Sign by Tennessee Williams. The playwright had personally selected Brosnan for the lead role.

British theater led to appearances on British TV by 1980. His wife, actress Cassandra Harris, landed a supporting role in the 1981 Bond flick For Your Eyes Only. Brosnan would amuse Harris by offering his impression of 007 when he would drive her home from the studio. (Perhaps a view of things to come for Brosnan. Tragically, Harris would succumb to ovarian cancer in 1991.) A successful 1981 ABC-TV miniseries, The Manions of America, led to Brosnan’s casting in NBC-TVs Remington Steele in 1982. The detective show ended up being in the top twenty-five TV ratings, but was canceled after four seasons as those numbers waned. Broccoli recalled Brosnan from the For Your Eyes Only days, and he tested for the role of Bond for the upcoming The Living Daylights. Pleased with the results, producers named Pierce Brosnan as the new James Bond.

Apparently, NBC read the trade papers that day, and, realizing the ratings boost having the “next James Bond” would give the network, they immediately renewed Brosnan’s contract as Remington Steele—effectively blocking his chances to play Bond. Ironically, the series would only air six episodes before getting the ax once more, but the damage was done. The Living Daylights would shoot with Timothy Dalton as 007.

Brosnan was understandably upset, but continued to work on TV and in films, including hits like Lawnmower Man in 1992 and Mrs. Doubtfire in 1993. When the 007 legal snafus were cleared up in 1994, it became apparent that Pierce Brosnan would be Bond in GoldenEye (over suggestions that included Mel Gibson and Ralph Fiennes), and it wouldn’t be enough to rescue the world—this time, he was expected to rescue the character from oblivion.

So, with that small task at hand, it was Pierce Brosnan who brought Bond into the twenty-first century. It was Pierce Brosnan who had to come to terms with a new boss—still M, but this time, a female (gasp!). It was Pierce Brosnan who, with his four Bond films, brought nearly $1.5 billion to box offices worldwide. In his four turns as James Bond, Pierce Brosnan brought the suave and calm demeanor to the character that one would expect from an experienced performer. In 1995, he told Big Screen magazine, “The way I see James Bond is as a man with a passion to get the job done . . . This film is . . . not a cure for cancer, it’s supposed to be fantasy.” Film critics like Roger Ebert praised his portrayal of 007, offering that Brosnan was “somehow more sensitive, more vulnerable, more psychologically complete, than the [other] Bonds.” High praise indeed.

No matter, producers Barbara Broccoli and Michael G. Wilson decided to (get ready, here it comes . . .) “reboot” the role of Bond once more in 2005, just as Brosnan was in negotiations for a fifth whirl as 007. In a 2005 interview for Premiere magazine, he said, “It would have been sweet to go back for a fifth . . . It would have been wonderful to go out there for one last game and pass the baton.” Less poetically, he added, “it f . . . ing sucks.”

Indeed. But bad luck for Brosnan meant good fortune for the next actor to don the shoulder holster and cock the Walther PPK (or Walther P99, as the case may have been). Once again, Broccoli and Wilson considered hundreds of actors to play 007 (the list this time around included Hugh Jackman, Jude Law, Ewan McGregor, Jason Statham, Gerard Butler, Colin Firth, Colin Farrell, Clive Owen, Colin Clive . . . no, wait—he played Dr. Frankenstein years ago). After a search that took most of the remaining months in 2005, the winner was: Blond, James Blond.

David Rothenberg on Rubin “Hurricane” Carter

Fortune in My EyesRubin “Hurricane” Carter, the boxer who was wrongfully convicted of murder in 1967 and spent almost two decades in jail before being exonerated, died on Sunday in Toronto. He was 76.

David Rothenberg writes about meeting Carter at Rahway State Prison in his book, Fortune in My Eyes: A Memoir of Broadway Glamour, Social Justice, and Political Passion, published by Applause Books.

Here is an excerpt.

* * * * * * *

My visits to the Rahway penitentiary, beginning with my appearances on the inmate radio program, evolved. The prison officials had placed a moratorium on the number of visits afforded me, so—using their prison-acquired inmate wiles—several of the men created a class, which enabled me to return weekly as a teacher. Most of the guys in the class were doing heavy time. Several had been released from Trenton State Prison’s death row after the U.S. Supreme Court ruling in 1972 that declared the death penalty to be unconstitutional…I would arrive on Saturday morning and read the class a page-one story from the morning edition of the New York Times. I would then ask for the students’ reactions to the article. At first the men balked, suggesting that this was not a class. As the teacher, they argued, I should give them my interpretation of the story. I insisted that their opinion of the news event was as valid as mine.

Tommy [Trantino] then challenged me: “Why are you the teacher?”

My answer satisfied them: “I’m the teacher because I’m getting you to think about what is happening in the world, and your personal assessment of a story demands that you think.” In fact, that was my goal. Most of the guys admitted that they were school dropouts and had hated and been intimidated by the classroom and the teachers, who tortured and embarrassed them. If I could create a classroom environment that was nurturing, they might be motivated to take advantage of some of the more traditional and formal classes being offered in the institution, and even aspire to a GED or a college course that might be available. If my class accomplished anything, it was that a few of the men, on their own, did go on to explore other educational opportunities. A few even contacted me upon their release from prison.

There was an intense man, Rubin, always sitting in the front row. Cocoa-skinned, bald, and with glasses, he listened intently but rarely spoke. In the many classes I have taught, I have always looked for that eager face, someone who is soaking up everything even if they are not asking questions. Rubin was particularly responsive when guests would join me. Judge Bruce Wright visited several times—canceling his treasured Saturday morning tennis games to travel with me to Rahway—and fascinated the students with his candor about the courts and racism in our society.

One day after class, Rubin asked if I could call his agent. “Rubin, why do you have an agent?” That seemed an appropriate question to pose to a man situated in a prison. “Of course I will call your agent, but what kind of an agent is this?”

He told me he was writing a book, and I figured, why not? Everyone in here has a story to tell. I asked him to write down her name, address, and phone number, and by the way, “Rubin, what is your full name?”

He said, “Rubin Carter.”

I looked at him for a long minute and asked, “Are you the Rubin Carter called Hurricane?”

“That’s me.”

I never asked last names in the class, nor did I take attendance. It was all voluntary. I had had no idea that the attentive young man in front of me was a former boxing champion.

In 1999, when the movie The Hurricane was released, with Denzel Washington giving a deeply moving and memorable performance in the title role, I had heard that Rubin was going to be in New York City for some promotional interviews for the film. He had long since been cleared and released after several courtroom dramas. I called the film’s publicity department and introduced myself as a host of a weekly radio program on WBAI in Manhattan. I requested an interview with Carter. “Of course,” the condescending and impatient publicist said, “everyone does. We have him scheduled with PBS, GMA”—and some other initials were thrown in.

I listened respectfully and said, “Rubin and I go way back. Why not just ask him and let him make the decision?” The impatient rep conceded to my logic.

Ten minutes later the call came: “Rubin is anxious to appear on your radio program.”

He arrived at the studio on Saturday morning looking like a million dollars, in a nifty suit with a professorial look. I told him that I appreciated his joining me, and he said, “David, you were there when no one else was. We can’t forget where we came from. By the way, you were taller then.”

“No, Rubin, I was standing up and you were sitting down. Now it’s the reverse.”

He was living in Canada, working with the Innocence Project and delivering inspiring lectures. He and Tommy Trantino had bonded in Rahway, and theirs was a dramatic demonstration that black and white guys could work together to give inmates a united voice. Because both men were charismatic and had respect from other prisoners, they were able to create some alterations in the traditional apartheid of the joint they were in.

Both Rubin and Tommy rejoined the human race in spite of prison’s attempt to dehumanize them.




Dramatic CircumstancesWilliam Wesbrooks studied psychology, theatre, and music in preparation for his theatrical career, which, in its 40 years, has encompassed performing, directing, playwriting, and teaching.  In his new book, Dramatic Circumstances, Wesbrooks shows how actors can “live inside” the stories they tell in a way that brings them to life for them and their audience.

 In a recent article in The Atlantic, titled “How Actors Create Emotions: A Problematic Psychology,” Judith Ohikuare writes that “fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding.”Here, Wesbrooks looks at where acting intersects with brain science and psychology.

 The acting process presented in Dramatic Circumstances can have a significant impact on the way singers and actors tell their stories, and I think that brain science offers intriguing insights into why that process works.

* * * * * * *

            Brain science is an ever-growing field of study that endeavors to address any number of mental, emotional, and physical issues that trouble many people, and I realize that applying that science to the study of acting may appear somewhat frivolous. However, in the best of worlds actors tell stories about what it is to be human, and I believe that we are all better off because these stories get told. It only follows that these stories have greater impact when they are told truthfully, in a manner that really looks inside human behavior and the human condition.

            Years ago I was told that the subconscious mind has no sense of humor. This struck me then as an extremely useful idea when applied to the art and craft of acting, and it has proved invaluable in the development of the dramatic circumstance process. The ideas we plant in our subconscious mind are, as far as that particular part of our mind is concerned, true.

            In a New Yorker article (“Head Case: Can Psychiatry Be a Science?” March 10, 2010) Dr. Louis Menand wrote, “The brains of people who are suffering from mild depression look the same on a scan as the brains of people whose football team has just lost the Super Bowl. They even look the same as the brains of people who have been asked to think sad thoughts [italics mine].”

            I believe that an actor’s subconscious mind evokes responses and inspires action in circumstances that are entirely imaginary because key components of the actor’s brain do not realize that those circumstances are, in fact, imaginary.While it is certainly not necessary for actors to understand brain function in order to live truthfully “inside the stories we tell”, I find it a compelling way to think about acting. 

            It is certainly something worth exploring.

Patrick Troughton: The Doctor, The Clown

To celebrate Patrick Troughton’s birthday we have posted an excerpt from Dave Thompson’s new book Doctor Who FAQ. Please enjoy!

The Clown was the Second Doctor, formally introduced to his audience still lying on the TARDIS floor, where he fell at the end of the previous adventure.

In what we might call “the real world,” that in which BBC writers, pro- ducers, directors, and crew fuss around to bring the Doctor’s adventures into our living rooms, it was a moment of unparalleled drama, anticipation, and probably fear.

The outgoing William Hartnell was more than a popular actor, after all. To everybody and anybody who had any awareness of the show, he was the Doctor. White-haired and wrinkled, smartly attired and condescending. Whereas now he was dark-haired and shorter. Craggier, with the kind of face that could be described as lived-in. Kindly but a little lugubrious. The eyes sparkled, and the cunning of the First Doctor was a lot less pronounced. Politely, the Second Doctor looked a bit of a bumbler.

Who ever would accept it was the same man?

Certainly not Ben and Polly, his latest companions. And the man who called himself the Doctor didn’t seem too sure, either.

“You’re the Doctor!” said Polly, in answer to one of his rambling remarks. “Oh, I don’t look like him,” replied the Doctor. And the introductions could have gone on all night were it not for one slight problem. There were Daleks about, and if the Doctor had learned one thing over the past three years of television, it was that Daleks—his oldest and most lethal enemy—did not have time for small talk.

That was how this new man was to be introduced, not through the force of his personality, or the delight of his sense of mischievous humor, but through the sheer populist weight of his most implacable foe, the single most popular creation in the show’s entire history and still, all these years later, one of the most beloved (if a metal tin packed to bursting with unrepentant malice could ever be described as “beloved”) aliens in science- fiction history. We will get to know them better later in this book; for now, suffice it to say that the very inclusion of the Daleks’ name in an episode title was worth a million or so extra viewers every week, and The Power of the Daleks did not disappoint.

It still doesn’t. With hindsight, it’s difficult to say which future story was most heavily influenced by The Power of the Daleks: the Ninth Doctor’s Dalek, in which the time traveler’s pleas for an inactive Dalek to remain inactive are ignored, or the Eleventh Doctor’s Victory of the Daleks, in which stupid humans (Britain’s wartime hero Winston Churchill among them) convince themselves that it is they who call the shots, and that the Daleks are simply theirs to command.

Either way, in terms of storytelling, action, and excitement, the Second Doctor’s debut is at least the equal of the former and effortlessly superior to the latter, with the Daleks seemingly even more sinister than usual simply by virtue of behaving so helpfully.

Of course, they will soon be at their screeching, screaming best as well, but what is important here is less the manner in which the Doctor, Ben, and Polly defeat them than in the nature of the understanding that quickly comes to bind the three of them so closely. After all, this Doctor is still a total stranger to them, and while Polly is willing to accept that he might be the same man, Ben is considerably more suspicious. And it will take more than a silly hat and an annoying recorder to win him around.

But somehow, the Doctor succeeded. Yes he was a clown, and in sharp contrast to his prickly predecessor, a lovable one as well. But by the end of his first season, which concluded with another encounter with the Daleks, the Doctor was again the Doctor, and memories of his past personality were just that.

Doctor Who is indisputably the most successful and beloved series on UK TV, and the most watched series in the history of BBC America. Doctor Who FAQ tells the complete story of its American success, from its first airings on PBS in the 1970s, through to the massive Doctor Who fan conventions that are a staple of the modern-day science fiction circuit. Combining a wealth of information and numerous illustrations, Doctor Who FAQ also includes a comprehensive episode guide.

Happy Birthday, Timothy Dalton

We have a special blog today in celebration of Timothy Dalton’s birthday.

Tom DeMichaelGuest Blogger: Tom DeMichael, author of James Bond FAQ.

The 007 Film Formula…

Consider, if you will, the number one fast-food purveyor in the world. You know which one – golden arches, billions sold, meals that make kids happy – yeah, THAT one. What is it that makes them so successful?

Of course, there are a number of reasons and just a reminder – this isn’t a business blog. But consider one of the main reasons: They have a formula that works. They make sure that the sandwich you buy in any of the twenty-five Portland, Oregon locations is just like the one you buy in any of the six locations in Portland, Maine. As a consumer, you know what to expect; you know what you’re getting when you walk in.

The same can be true for the James Bond film franchise across the last fifty years. Certainly, there have been major changes (for the positive) in the latest films (Skyfall, while offering a welcome throwback to the solid action and character-based films from the beginning of the series, is the most recent retooling of the 007 flicks.) But, just like the aforementioned fast-food chain, much of the success across the last five decades can be credited to an established formula: a “Bond formula.”

Some scholars point to a set of rules originally established by author Ian Fleming in many of his 007 stories – similarities in villains, women, plots, predicaments – all which led the reader to a satisfying literary experience. Likewise, the movies discovered what worked and stuck to it.

Without overdoing it, (and while not always in the same order,) take a look at the following events found in most Bond films:

The gun-barrel sequence: Consider this to be the movie equivalent of the yellow semicircles that the above-mentioned fast-food purveyor has used to brand their company. Created at the last  minute by Maurice Binder, the gun barrel sequence has appeared in every Eon Productions-produced Bond film – although not always at the beginning. Casino Royale, in 2006, incorporated a brief gun barrel view as Bond fires his pistol at a bad guy in a public restroom. The following two flicks – Quantum of Solace and Skyfall – placed the familiar opening at the end.

The pre-credits scene: A mini-film of sorts, as Bond encounters some sort of conflict, wrestles with it, and comes to a resolution – usually in the form of some sort of fantastic escape to safety. (Except for Dr. No. Being the first in the series, there was no pre-credits scene.) There have been variations, especially since the retooling of the Daniel Craig films, but Bond’s mission to destroy a Latin American radar system and his escape in a miniature jet during the opening minutes of Octopussy are perfect examples, complete with wry witticism. When the jet ran low on fuel, 007 merely landed it at a gas station, calmly instructing the attendant to “Fill it up, please.” Cue the theme song…

Opening credits: Whether delivered by Maurice Binder, Robert Brownjohn, Daniel Kleinman, or MK12, the opening credits over the theme song clearly convinced the viewer that “this MUST be a James Bond film.” While a previous blog entry covered the story of the 007 credits, suffice to say that the “formula” called for writhing female forms, bold colors and pools of lights, and signature icons from the franchise.

Bond receives his mission: Originally set in the office of Universal Exports – the cover for MI6 – 007 dallied with Miss Moneypenny, was rudely interrupted by M and ushered into the private and plush quarters of Bond’s boss. When that got old, the location of M’s briefing went mobile – a British sub in You Only Live Twice, even at Bond’s apartment in Live and Let Die.

Bond’s visit to the Quartermaster: With orders in hand, Bond visited Q – usually deep in his lab – to receive an assortment of gadgets and goodies to keep him out of peril. Occasionally, Q got out and joined Bond in the field – like in Octopussy and Licence to Kill. Of course, Major Boothroyd was totally intolerant of Bond’s lack of respect for the hours of hard work behind every item, invariably chiding, “Now – Pay attention, 007!”

Bond heads out on his mission: Keeping his Frequent Flyer miles current, Bond more often than not found himself at an airport – either leaving for or arriving at his destination. Whether at Miami International, LAX, Heathrow, McCarran International, Palisadoes International, JFK, or another airfield, 007 knew that commercial jets were “the only way to fly.”

Bond connects with an ally (often the “sacrificial lamb”): Male or female, this character often provides Bond with a valuable bit of information, access to the villain (as they are sometimes in cahoots with him,) or other service – then usually gets bumped off by the bad guy. Picture Quarrel, Kerim Bey, the Mastersons – Jill AND Tilly, Aki, Plenty O’Toole (drowned by Wint and Kidd, who mistook her for Tiffany Case in a scene not seen in Diamonds Are Forever,) Rosie Carver, Andrea Anders, Corinne Dufour, Vijay, Sir Godfrey, Saunders, Sharkey, Paris Carver, Solange, Agent Fields, among others. Gone, but not forgotten.

Bond meets up with an associate/bodyguard of the villain: Sometimes a female, but often a large, brawny man possessing superhuman strength – Professor Dent in Dr. No was hardly an imposing brutish specimen, but the tarantula he placed in Bond’s bedsheets was no lightweight. Soon, figures like Oddjob, Hans, Tee-Hee, Jaws, Zao, even Xenia Onatopp and others, flexed their formidable physical skills to give 007 a real run for his quid. In some cases, this person was combined with the role of “sacrificial lamb” – May Day, for example.

The “Bond Girl” is introduced: Sometimes more than one (minor “Bond Girls” were often combined with the “sacrificial lamb,” such as Aki, Plenty O’Toole, Andrea Anders, Paris Carver, and others,) they were always easy on the eyes. The Bond Girl actresses were often international beauties (Ursula Andress – Swiss, Daniela Bianchi – Italian, Claudine Auger, Carole Bouquet, Sophie Marceau, Eva Green, and Bérénice Marlohe – French, Mie Hama – Japanese, Britt Ekland and Maud Adams – Swedish, Famke Janssen – Dutch.) Early on in the series, the Bond Girl was usually portrayed as helpless and unable to cope with conflict without 007’s assistance (although Honey Ryder and Pussy Galore stood out as women capable of handling themselves well within the world of 1960’s men.) Fortunately, time recognized woman’s ability to stand up on her own two (albeit shapely) legs, as strong and independent characters like Dr. Holly Goodhead (despite the double-entendre name,) Octopussy, Pam Bouvier, Jinx Johnson, and Camille Montes, among others.

Bond engages the villain in a game or sport: This allows 007 and his foe to come face-to-face and size each other up, where they both realize their opponent is no pushover. Golfing with Goldfinger, poker and skeet with Largo, Tarot cards with Kananga, baccarat with Kristatos, backgammon with Kamal Khan, horse racing with Max Zorin, blackjack at Sanchez’ casino, fencing with Gustav Graves, Texas Hold’ Em with LeChiffre, etc. Win or lose, the game was afoot.

The villain’s lair: Where money is no object – Doctor No had his bauxite processing plant – a cover for his expansive nuclear-powered control center that fiddled with rocket launches at Cape Canaveral. Goldfinger outlined his plan to knock off Fort Knox in a cavernous conference room – complete with pool table/control panel, a mechanical bucking bronco, and a huge detailed model of the gold depository and surrounding landscape (a model that, in reality, is now on display at the Patton Museum as part of the REAL Fort Knox in Kentucky.) Blofeld had his marvelous and vast volcanic headquarters in You Only Live Twice, loaded with rocket pad, a monorail, and more soldiers and ninjas than one could ever imagine. There’s more and more, all the way to Gustav Graves’ Ice Palace in Die Another Day. No matter, these hangouts were the place to hang out.

Bond’s death-defying labor: Once again, the very first film established the need for Bond to go through hell in order to get to heaven. Dr. No found 007 crawling through the searing heat of the villain’s ceiling duct work in search of escape, only to be nearly drowned in a rush of water in the same conduits. Whether it was a swim with man-eating sharks in Thunderball, a bobsled race with Blofeld in On Her Majesty’s Secret Service, a brief stroll along the backs of jaw-snapping alligators in Live and Let Die, or a last-minute jolt from a portable defibrillator in Casino Royale – among many others – Bond was always challenged to look death square in the eye. Inevitably, it was always death that blinked.

Final confrontation: (with spectacular demise of villain and his command center.) Face-to-face with the antagonist, 007 always had the last word as his opponent bit the dust. Rosa Klebb “had her kicks;” Goldfinger wound up “playing his golden harp;” Mr. Wint “left with his tails between his legs;” Kananga had “an inflated opinion of himself;” Gustav Graves thought it was “Time to face destiny,” while Bond reminded him it was “Time to face gravity.” Despite the glib remarks, 007 and good always prevailed, as Bond and the Bond girl escaped (where their attempt at a well-earned romantic tryst was always interrupted.)

Reassurance that James Bond Will Return: The first dozen Broccoli/Saltzman films all finished with a tease that the series would continue – although they weren’t always accurate. The end of The Spy Who Loved Me promised viewers that For Your Eyes Only would be next. But the success of Star Wars in movie theaters prompted the Bond producers to reconsider and make Moonraker – with its spaceflight theme – the follow-up film. For a while, the tease for Bond’s return was omitted from the end of the Bond films. Skyfall, in 2012, while not mentioning a specific title, did promise that “James Bond Will Return…” Just like the good old days.

Lewis Gilbert, director of three Bond films – You Only Live Twice in 1967, The Spy Who Loved Me in 1977, and Moonraker in 1979 – acknowledged the existence of such a formula, saying: “I think that part of the charm of the Bond picture [is] you know what you’re going to get… You can change it slightly, but it’s very well laid down, the Law of Bond, and people want you to abide by it.”

Heaven forbid one should break the “Law” and receive a ticket from the movie police.

James Bond FAQ is a book that takes on the iconic cinema franchise that’s lasted for so many years. Sometimes serious as SPECTRE, sometimes quirkier than Q, but always informative, this FAQ takes the reader behind-the-scenes, as well as in front of the silver screen. Everyone’s included: Connery, Lazenby, Moore, Dalton, Brosnan, and Craig; little-known facts about TV’s first shot at 007, the same Bond story that was made into two different films; whatever happened to those wonderful cars and gizmos that thrilled everyone; plus much more. It’s a book for the casual, as well as hardcore, James Bond fan.