Almost fifty years ago, in the film journal Sight and Sound for Winter 1964/65, critic Roger Hudson wrote that the talent of motion picture production designers “is often overlooked, except where it is the greatest element in a film’s success, as it is in Goldfinger.”

The greatest element — that’s a bold claim, considering the hot competition among the movie’s other collaborators. But in hindsight, few would argue that the marvelous sets, vehicles, and spy gadgets of Goldfinger, masterminded by production designer Ken Adam, are any less iconic than Ian Fleming’s novel, Sean Connery’s performance, or John Barry’s musical score.

Production design is a largely unsung art. Both the script and the need for historical accuracy tend to serve as harsh governors on the dreams and fantasies of the people charged with designing a movie’s sets and props. But the Bond films, Adam says, “are done so loosely that the script isn’t the Bible that it is in most films. It changes all the time, and the whole process of writing is like some democratic debating society.”

When Dr. No went into production in 1961, Adam got a mere 14,000 pounds (out of the movie’s total budget of 350,000) with which to design all of the interior sets for this “tongue-in-cheek spectacular,” including the casino in the opening scene, Bond’s apartments, M’s office, and the sprawling, futuristic lair of the villainous doctor himself. He performed his task in England while the rest of the cast and crew were off filming exteriors in Jamaica, and when they returned they were stunned by what they saw: (more…)

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In case you didn’t catch it last night on Red Eye….Bill Maher’s intervention.

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I had a date with Judd Apatow.  It was around 1991 and I was between husbands: the out-of-work-Jewish-Gypsy-fire-eater-musician, and the high-school-sweetheart-Baptist-helicopter-police-pilot.  I needed a date to a premiere.  I knew the rules of engagement for a Hollywood career, and I tried to follow them.  It’s difficult to do this when you carry the burden of ethics around with you, but I tried to do it and stay within the bounds of morality.

1) Go to the right places.  I went to the Playboy Mansion to find an agent, and I did.  I was 21 and a Baptist virgin, and I found Betty from the William Morris commercial department there.  Check.

2) Wear something provocative to a Hollywood premiere so you can get free publicity.  I did that.  When I was an SNL castmember trying to increase my movie roles, I attended some Tom Hanks/Meg Ryan premiere (go figure – it was a flop!) in a see-through black shirt with a flowered bra underneath.  I felt ashamed, but I did get my picture in a few magazines.  All press is good press, and press leads to opportunity.

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