Golden Gun, will be made in Bangkok. Turning over his tarot cards, he told me that I was going to have a car accident in an Oldsmobile, in which I would suffer some brain damage, and when I gave him a bewildered blink he added, with a happy smile, that it would not be fatal. He finished on a fact about ‘my son or adopted son’ and must have meant

Day Twelve and back to work. Paul Rabiger, our make-up man, was telling me about other Bond films he has done while he was working on me this morning. He has been on every one except the first – Dr No – and consequently has made up all the leading ladies; and when you meet a girl every morning at around 7 a.m. without her make-up, it’s like being

With M, who orders Bond to investigate the sudden disappearance of agents who were probing Mr Big’s insidious business, is Miss Moneypenny – played by another mate, in fact a former classmate, Lois Maxwell. We were in the same year at the Royal Academy of Dramatic Art.

is one of my best friends, and her husband has had dinner at our house, it was still an enjoyable experience, even if she was wearing thick tights and knickers under her flimsy negligee! It reminded me of something Joan Collins said when she came to lunch on Sunday with her husband, Ron Kass. Doing a love scene with a leading man she detested, she

After the day’s work, I got back to the hotel, hot, sticky and tired, and ran straight into trouble. David Steen, a freelance photographer I have known for some years, who joined us in New Orleans, asked me to do a still with Gloria, with us posing as a bride and groom to be captioned ‘Mr & Mrs Bond’. David got the idea after a scene in which Bond

Rather than face all that, I sat myself down on the top terrace to wait for Gloria to appear. Luisa appeared instead and said: ‘Is it too much to come and say good evening?’ I was stung to reply: ‘It is too much when you are tired.’ She disappeared in a huff to be replaced by Gloria in virginal white clutching a bouquet with her large diamond ring

Wednesday morning began with a rehearsal on the Irish Bayou for the fifteen-minute chase sequence; a highlight of Live and Let Die. I practised taking a boat fast, at 20, then 30, then 40, then 50, then 60mph around sharp U-bends. These are not ordinary outboard-engined powerboats: they are jets. The steering can only be controlled when the motor

Tension was running high between the press and stills photographers, who were squabbling among themselves about which of them should have the pictures. I spent much of my day listening to ‘Could you move over, please’; ‘Look up at this light’; and ‘Watch this lens, please’. It reminds me of when Luisa and I got married at Caxton Hall. Every day

As the sun was setting over the silhouetted palms, the phone rang and my agent, Dennis Van Thal, told me from London that he had on my behalf politely bowed out of the two-million-dollar production Getting Rid of Mr Straker. It is a film Mel Frank and I planned before I knew I was to be Bond, and starred Lee Remick, Orson Welles, Terry-Thomas and