![]() ![]() Title Designer and Director Daniel Kleinman With this combination of elements, Kleinman acknowledges the title design tradition of Bond – girls, guns, and glamour – while leading it into the future through new techniques and expanded narrative possibilities. More scantily clad women wield sledgehammers, demolishing giant Communist statues and symbols against vibrant full-colour screens in a sequence that implies the passage of time as well as the fall of the Soviet Union. As Tina Turner sings about reflections and darkness in depths, fire engulfs the screen and women dance, languidly and in silhouette. This barrel is a departure from the first, with photorealistic reflections, shadows, and movement, ushering in what would become a new effects-laden visual language for the franchise. One explosion begets another, and suddenly we are blasting down the barrel, traveling through the cylinder alongside a bullet. After the conventional pre-title sequence, a second gun barrel appears. ![]() The barrel is jogged out of its static form and recreated digitally, following Bond as he walks across the screen. Kleinman's first task was to update the iconic gun barrel sequence in which Bond turns and shoots, a staple of the series since Binder created it for 1962's Dr. With technology changing in leaps and bounds in the late ’80s and into the ’90s, pushing the franchise's graphic sensibility into the modern era was crucial. ![]() ![]() Throughout the 1980s, Kleinman had directed more than 100 music videos, experimenting with montage, special effects, and surreal, dream-like sequences. Wilson turned to music video director Daniel Kleinman to carry the Bond title design standard forward. Realizing the need to bring the suave superspy into the digital era, she and co-producer Michael G. Director Martin Campbell was enlisted to helm the picture (he'd later return to direct 2006's Casino Royale), Pierce Brosnan became the face of Bond for this and the next three entries, and Barbara Broccoli set about breathing new life into the franchise.ĭirector Martin Campbell with actors Izabella Scorupco and Pierce Brosnan on the set of GoldenEye Some critics speculated that it was time to throw in the towel, suggesting as The Sunday Times’ Tom Shone did in 1992 that it was “time to junk Bond.”īut GoldenEye, the 17th film in the series, saw James Bond return a new man. "Cubby" Broccoli, co-founder of Eon Productions and producer on the Bond films for 40 years, stepped down from his duties due to health problems and tapped his daughter Barbara Broccoli to succeed him. After a slew of legal difficulties between distributor MGM and production company Eon, the departures of actor Timothy Dalton and director John Glen, and the death of title designer Maurice Binder in 1991, the franchise was on shaky ground. When GoldenEye was released in 1995, it had been six years since audiences had looked down this barrel at James Bond. Its target as always is James Bond, but this is 007 as we’d never seen him before. The barrel sequence is familiar and yet different. From the first notes of the synthesizer in the opening gun barrel sequence, a sense of smooth suspense takes hold. ![]()
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