The Living Daylights was the first of two films in the long-running James Bond franchise to feature actor Timothy Dalton as the legendary spy. Dalton had been offered the role following Roger Moore’s decision not to reprise it in the wake of the disappointing performance of 1985’s A View to a Kill. The film sees Bond caught up in an international conspiracy after the abduction from a London safe-house of a recently defected KGB officer, which sees the agent travel to Czechoslovakia, Morocco, Austria and eventually Afghanistan in search of the missing man. The spy uncovers an arms-dealing plot with global ramifications and he must work with the Russian girlfriend of the missing KGB officer to get to the truth and prevent the conspirators from fulfilling their plans.

This is the UK quad and it features artwork that was used across the globe to promote the film. It’s unquestionably the last truly great Bond poster and was also the last to be entirely hand painted. The man responsible is the British artist Brian Bysouth and the poster was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”

The article also features pictures of the original artwork and initial sketches for this poster.

There are few films quite like Flash Gordon and having re-watched it on blu-ray recently I was reminded how much of an impression it had on me when I first saw it as a child. I also listened to the excellent audio commentary with director Mike Hodges, who admits to being an unlikely choice to direct and confirms in no uncertain terms that they were making things up as they went along. It sounds like a typically chaotic Dino De Laurentiis production with scenes being written the night before filming and huge amounts of the budget going on the costume and set designs (though these are very impressive, even today).

There are several reasons the film remains one of my favourites of the 1980s:

Acting
Topol is insanely over the top as Dr Hans Zarkov with an accent that changes from scene to scene. It’s not hard to see why Sam J. Jones never hit the big time, although you can’t say he doesn’t give the role his all. Max Von Sydow is clearly having fun playing Ming and Brian Blessed is spectacular as Vultan the Hawksman; no one else could deliver the simple line ‘pass me the remote control’ with such unbridled gusto. A pre-Bond Timothy Dalton is also rather memorable, sporting a spectacular moustache.

The woodbeast
This infamous scene (featuring Peter Duncan) terrified me as a child, and not just ‘wow, that’s a bit weird’, I’m talking more like ‘I’m never going near a tree stump ever again’. Scarred. For. Life. There’s also an odd ‘black whoopee-cushion with tendrils’ creature that attacks Flash and is seared into my memory, even if it looks like a painted balloon when you watch it again today.

The costumes and set designs
As mentioned, a serious amount of budget was spent on costumes and sets by Danilo Donati and it shows. You only have to watch this brief clip to get an idea of the amount of work that went into them – very impressive stuff.

Ornella Muti
Just like Jane Seymour in Live and Let Die, Ornella (playing Princess Aura) was responsible for putting more than a few hairs on my chest. Her costumes are the very definition of figure-hugging. The infamous interrogation scene has to be seen to be believed.

The music
An awesome soundtrack by Brit rockers Queen that still sounds superb today. I almost tried to persuade my wife to walk down the aisle to the sound of Ming’s wedding march; it’s that good. The 2011 remaster is available on Spotify.

This landscape Thai poster was painted by the artist Tongdee Panumas (he signs his posters with just his first name) who was an incredibly prolific Thai film poster artist during the 70s, 80s and 90s but I’ve been unable to find out much about him, other than that he was born in 1947. If anyone has any more information please get in touch. A knowledgeable collector of Thai posters told me that the artists would rarely if ever see the film they were creating the poster for and would instead paint images based on still photos or posters from other countries. This led to some wild designs and even some artwork with characters and elements that didn’t even appear in the actual film!

I believe elements of this poster were copied from the same stills that were used to make some of the other worldwide posters for Flash Gordon, so it’s likely that the film was actually released some time after 1980. If anyone knows the date please get in touch. I also have a portrait version of the poster in the collection.

There are few films quite like Flash Gordon and having re-watched it on blu-ray recently I was reminded how much of an impression it had on me when I first saw it as a child. I also listened to the excellent audio commentary with director Mike Hodges, who admits to being an unlikely choice to direct and confirms in no uncertain terms that they were making things up as they went along. It sounds like a typically chaotic Dino De Laurentiis production with scenes being written the night before filming and huge amounts of the budget going on the costume and set designs (though these are very impressive, even today).

There are several reasons the film remains one of my favourites of the 1980s:

Acting
Topol is insanely over the top as Dr Hans Zarkov with an accent that changes from scene to scene. It’s not hard to see why Sam J. Jones never hit the big time, although you can’t say he doesn’t give the role his all. Max Von Sydow is clearly having fun playing Ming and Brian Blessed is spectacular as Vultan the Hawksman; no one else could deliver the simple line ‘pass me the remote control’ with such unbridled gusto. A pre-Bond Timothy Dalton is also rather memorable, sporting a spectacular moustache.

The woodbeast
This infamous scene (featuring Peter Duncan) terrified me as a child, and not just ‘wow, that’s a bit weird’, I’m talking more like ‘I’m never going near a tree stump ever again’. Scarred. For. Life. There’s also an odd ‘black whoopee-cushion with tendrils’ creature that attacks Flash and is seared into my memory, even if it looks like a painted balloon when you watch it again today.

The costumes and set designs
As mentioned, a serious amount of budget was spent on costumes and sets by Danilo Donati and it shows. You only have to watch this brief clip to get an idea of the amount of work that went into them – very impressive stuff.

Ornella Muti
Just like Jane Seymour in Live and Let Die, Ornella (playing Princess Aura) was responsible for putting more than a few hairs on my chest. Her costumes are the very definition of figure-hugging. The infamous interrogation scene has to be seen to be believed.

The music
An awesome soundtrack by Brit rockers Queen that still sounds superb today. I almost tried to persuade my wife to walk down the aisle to the sound of Ming’s wedding march; it’s that good. The 2011 remaster is available on Spotify.

This Thai poster was painted by the artist Tongdee Panumas (he signs his posters with just his first name) who was an incredibly prolific Thai film poster artist during the 70s, 80s and 90s but I’ve been unable to find out much about him, other than that he was born in 1947. If anyone has any more information please get in touch. A knowledgeable collector of Thai posters told me that the artists would rarely if ever see the film they were creating the poster for and would instead paint images based on still photos or posters from other countries. This led to some wild designs and even some artwork with characters and elements that didn’t even appear in the actual film!

I believe elements of this poster were copied from the same stills that were used to make some of the other worldwide posters for Flash Gordon, so it’s likely that the film was actually released some time after 1980. If anyone knows the date please get in touch. I also have a landscape version of the poster in the collection.

Celebrating its 25th anniversary this year, Licence to Kill, the sixteenth James Bond adventure, marked the end of an era in the franchise. Whilst certainly not in the running for best Bond film, it’s nevertheless a solid entry with excellent use of locations (actually forced due to budgetary constraints), a memorable bad guy in Robert Davi‘s drug kingpin Sanchez and a number of impressive stunt sequences. Fans of the original Ian Fleming novels often rate Licence to Kill as the film that’s closest to the original source material’s harder-edged action. Licence to Kill marked the last Bond film for director John Glen who had been involved in the series since 1969 and also saw legendary producer Albert R. Broccoli effectively retire from the reigns of a franchise he had begun with producing partner Harry Saltzman back in 1958. 

The story is significantly darker and grittier than anything that had come before in the series, particularly those films released during the Roger Moore era. It opens with Bond and old friend CIA agent Felix Leiter on the way to the latter’s wedding ceremony in Key West (Florida) when they’re informed that Sanchez, a wanted drug lord, has been spotted in the area. The pair manage to apprehend the kingpin after an exciting chase that ends with them parachuting out of a helicopter and landing in front of the church, just in time for the ceremony. After the title sequence (with the excellent Gladys Knight theme tune) things take a dark turn as Sanchez escapes and takes revenge on Felix and his new bride.

When Bond discovers a badly mutilated Leiter and his dead bride he vows revenge, but when his superiors deny his request and order him on another mission to Turkey, Bond flees and has his licence to kill revoked. With the help of one of Leiter’s friends, he follows a trail leading him from the Bahamas to the fictional Republic of Isthmus where Davi’s plan for global drugs domination is revealed. The film ends with a thrilling chase involving several tanker trucks along a dangerous highway, which is easily one of the most memorable action sequences in the series’ history. The film was Welsh actor Timothy Dalton‘s second appearance as 007 and would ultimately prove to be his last after a protracted legal wrangle meant that no Bond film was put into production until 1995’s Goldeneye, by which time the actor had moved on and was replaced by Pierce Brosnan.

The marketing of the film went through a number of iterations, designers and artists and, crucially, marked the first time that painted artwork gave way to a photographic montage. Despite some initial sketches and concepts by the legendary artist Bob Peak, MGM decided to commission a number of designers and artists to work on the posters, including American Steven Chorney who designed this particular advance one sheet, and British design firm FEREF (led by Robin Behling) which designed a montage that was used on the international one sheet, the British quad and for some other posters around the globe. Although initially produced under the title ‘Licence Revoked’, MGM feared that American audiences wouldn’t understand the second word and changed it to the title we know today. Note that there was some wrangling over whether to go with the American spelling ‘License’ or the British-English ‘Licence’. Eventually the latter won out, but not before these posters had been printed with the American spelling (the same poster also exists with ‘Licence’ too).

There are few films quite like Flash Gordon and having re-watched it on blu-ray recently I was reminded how much of an impression it had on me when I first saw it as a child. I also listened to the excellent audio commentary with director Mike Hodges, who admits to being an unlikely choice to direct and confirms in no uncertain terms that they were making things up as they went along. It sounds like a typically chaotic Dino De Laurentiis production with scenes being written the night before filming and huge amounts of the budget going on the costume and set designs (though these are very impressive, even today).

There are several reasons the film remains one of my favourites of the 1980s:

Acting
Topol is insanely over the top as Dr Hans Zarkov with an accent that changes from scene to scene. It’s not hard to see why Sam J. Jones never hit the big time, although you can’t say he doesn’t give the role his all. Max Von Sydow is clearly having fun playing Ming and Brian Blessed is spectacular as Vultan the Hawksman; no one else could deliver the simple line ‘pass me the remote control’ with such unbridled gusto. A pre-Bond Timothy Dalton is also rather memorable, sporting a spectacular moustache.

The woodbeast
This infamous scene (featuring Peter Duncan) terrified me as a child, and not just ‘wow, that’s a bit weird’, I’m talking more like ‘I’m never going near a tree stump ever again’. Scarred. For. Life. There’s also an odd ‘black whoopee-cushion with tendrils’ creature that attacks Flash and is seared into my memory, even if it looks like a painted balloon when you watch it again today.

The costumes and set designs
As mentioned, a serious amount of budget was spent on costumes and sets by Danilo Donati and it shows. You only have to watch this brief clip to get an idea of the amount of work that went into them – very impressive stuff.

Ornella Muti
Just like Jane Seymour in Live and Let Die, Ornella (playing Princess Aura) was responsible for putting more than a few hairs on my chest. Her costumes are the very definition of figure-hugging. The infamous interrogation scene has to be seen to be believed.

The music
An awesome soundtrack by Brit rockers Queen that still sounds superb today. I almost tried to persuade my wife to walk down the aisle to the sound of Ming’s wedding march; it’s that good. The 2011 remaster is available on Spotify.

This British quad was illustrated by one of my favourite artists, Renato Casaro (check out the incredible amount of work here), and the design can be seen on several of the film’s international posters, including the slightly different Japanese ones. Interestingly the logo on the poster is also seen throughout the film (Flash has it on his t-shirt at one point for example), which is a crossover that very rarely happens.

You can see more of Casaro’s posters that I’ve collected here.

The great original trailer can be seen here.

I’ll admit to not having seen this 1975 political spy thriller starring Dirk Bogarde, Ava Gardner and a pre-Bond Timothy Dalton, but going by the lack of information, reviews and discussion of the film on IMDb, I am not alone. It doesn’t appear to have been released on DVD and I could only find evidence of a UK VHS release (on Amazon).

One of the only reviews I could find has this to say:

Permission to kill has got to be one of the WORST films ever made, The directing from Frankel is appaling, The story is needlessly complicated and confusing, and the actors (especially Bogarde) look like they’d rather be somewhere else, but above all absolutely NOTHING happens.

Even if the film is not one to seek out, this poster, with artwork by American artist Robert Tanenbaum, is definitely an interesting one. I really like the composition and use of masking within the shadow of the mysterious ‘Mr Curtis’. Tanenbaum clearly has a thing for horizontal ladies, as evidenced here and on his poster for A Boy and His Dog. The colours work well against the grey background and the title logo is also fairly unusual for the time period (being hand drawn and brightly coloured).

To see other posters I’ve collected by Robert Tanenbaum click here.

The original trailer (with Danish subs) can be found on YouTube.

Unquestionably the last truly great James Bond poster was painted by the British artist Brian Bysouth and the design was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”
The article also features pictures of the original artwork and initial sketches for this poster.

Unquestionably the last truly great James Bond poster was painted by the British artist Brian Bysouth and the design was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”
The article also features pictures of the original artwork and initial sketches for this poster.

Make no mistake about it, this poster is a direct homage to the US one sheet for Michael Bay’s nutso action ‘classic’ Bad Boys 2. As well as being one of several action films that are referenced and paid homage to in Hot Fuzz, it also features as one half of the double-bill of DVDs that Danny Butterman (Nick Frost) shows to Nicholas Angel (Simon Pegg). I like this bit of trivia on the IMDb.

This infamous line was also featured in Fuzz: Shit just got real (HD)

Playing the marketing campaign straight-faced really works and unaware American cinema-goers would have been forgiven for thinking they were in for a traditional all-American action fest. The international one sheet is also great and features the skyline of the sleepy English town where the film is set.

This article from 2006 discusses the poster references in more detail.

Here’s the official trailer for the film and a nice alternative one. If you haven’t caught it already, the film is an absolute must-see.

There are few films quite like Flash Gordon and having re-watched it on blu-ray recently I was reminded how much of an impression it had on me when I first saw it as a child. I also listened to the excellent audio commentary with director Mike Hodges, who admits to being an unlikely choice to direct and confirms in no uncertain terms that they were making things up as they went along. It sounds like a typically chaotic Dino De Laurentiis production with scenes being written the night before filming and huge amounts of the budget going on the costume and set designs (though these are very impressive, even today).

This is an unusual teaser one sheet printed on paper that is thicker than normal paper with a metallic-ink finish. It was used in North America to promote the film months ahead of its release and there was also a landscape format version printed.  The renowned British artist Philip Castle is responsible for the artwork, which depicts the scene towards the end of the film where Flash Gordon and the Hawkmen attack and capture the rocket fortress Ajax.

Born in London in 1943, Castle’s design career has seen him working on album covers for some of the biggest names in British music, including Wings, Mott the Hoople and Pulp. His skills were utilised for the famous cover for David Bowie’s Aladdin Sane, which saw him airbrushing over a photograph by Celia Philo. He also worked on the cover for the legendary computer game Elite.

Perhaps his most famous film poster work was the result of his collaboration with director Stanley Kubrick and the airbrushed images used to promote A Clockwork Orange are utterly fantastic. The final one sheet for the film is one of the most iconic posters of all time, with the same painting being used to promote the film all over the world, and it continues to be used to this day. In 1987 the pair would collaborate once more on the poster for Full Metal Jacket, which again proved to be a seminal piece of work. There’s an interesting interview with Castle available to watch on YouTube in which he discusses his work with Kubrick.

This page features several examples of his brilliant work and there are multiple images tagged on Tumblr. The posters I’ve collected by him can be seen here.

This is the final release one sheet for Flash Gordon with artwork by the great Richard Amsel, who is responsible for probably my favourite Indiana Jones poster, the Raiders of the Lost Ark 1982 re-release one sheet. The advance was illustrated by Lawrence Noble and features a similarly menacing Ming the Merciless at the top of the poster.

It took me a long time to find a rolled version of the poster and even though this particular one is not in mint condition I’m still happy to add it to the collection.

The tagline and logo are notably great.