Hall Of Fame: Michael G. Wilson and Barbara Broccoli

MICHAEL G. WILSON

& BARBARA BROCCOLI

The formidable 007 producers on why new James Bond mission No Time To Die is the ultimate big-screen experience…

Photo: Greg Williams Photography

MICHAEL G. WILSON AND BARBARA BROCCOLI DEBATABLY HAVE THE BEST JOB IN THE WORLD: they are the guardians of James Bond, the world’s greatest secret agent. The stepson and daughter of legendary Bond producer Albert R. “Cubby” Broccoli, Michael and Barbara have guided the series since 1995’s GoldenEye, keeping the 58-year-old franchise fresh and relevant during everchanging times. The latest adventure, No Time To Die, is the 25th official Bond film and brings Daniel Craig’s tenure as 007 to an end on a thrilling, explosive high. At the pair’s swanky London HQ (sadly not inside a volcano), the powerhouse producers talk career highs, finding talent and the joys of a night out at Picturehouse…

When working on a new James Bond film, where do you begin? Michael G. Wilson: We look for the caper that’s going to be on people’s minds two years from when we start, try to forecast that and then figure out what Bond’s journey is going to be — what are we going to put him through emotionally. Barbara Broccoli: Fortunately, Daniel is terrific story-wise. He understands

the character extremely well. He is very much a part of the whole process. In No Time To Die, Bond is faced with a massive threat –worse than ever. It’s really putting him through his paces.

You’re flying the flag for largescale British cinema with James Bond. Do you ever feel a pressure attached to that? Broccoli: No, we love making films here. We celebrate all the craftsmen and the technicians. Wilson: James Bond is a British subject and British-made. Britain is now a hub for large productions. Just look at the expansion of Pinewood Studios.

Clockwise from above: No Time To Die,

GoldenEye, The Spy Who

Loved Me

You often champion new and emerging filmmaking talent. How do you keep abreast of what’s going on in the wider film world? Broccoli: We love watching films and theatre; we find a lot of talent in those areas. I just think we are excited about the job we do. Wilson: Along with producers Tim Bevan, Eric Fellner and David Heyman, we have founded The London Screen Academy to bring young talent into the industry. Broccoli: Talent is the reason to get out of bed in the morning.

Do you think it’s important that people experience films like No Time To Die, as part of a large audience on the big screen? Wilson: We make it for the big screen. We’re shooting it on film. The music and sound effects are all intended to be experienced in that way. The attention to detail and effort that goes into it is all meant for a collective theatrical experience. Broccoli: I think going to the cinema is anevent. It’s something we shouldn’t take for granted. I love going to the movies. I love the ideaofbeing ina darkenedroomwithstrangers watching something, gasping or laughing or crying. The experience is really special, particularly whenyou go to Picturehouse, where the cinemas are so welldesignedandcomfortable. Youcanmake anevening outofit. They have really goodrestaurants, you canhave acocktail. Youcanhave your pic’n’mixandsitinacomfy seat. It’s a wonderfulexperience.

Do you have that unique viewing experience in mind when working on a new 007 picture? Broccoli: There’s a couple of moments in No Time To Die when you will hear the audience react — they are not necessarily action moments. We’re really excited to be in a situation when we are watching the film with an audience.

You’ve worked on so many fantastic movies but if you had to pick a career highlight (so far) what would you say? Broccoli: I think Casino Royale. There was an avalanche of negativity about Daniel Craig before anyone had seen him perform, which was really shocking and distressing. I think when audiences got to see him play the role, it was a triumph. We knew how fantastic he was but it was great when the tide turned so dramatically. Wilson: I would also add The Spy Who Loved Me –which was probably the best of Roger Moore’s films. And GoldenEye was an excellent first film for Pierce (Brosnan). I guess it’s a big moment when you take a risk doing something new that goes down well with the audience. It’s always a good feeling. Ian Freer