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The Story Behind: Three Bond Women

Writer Tom Cull explores the real heroes behind some of Ian Fleming’s most admired characters.

Like many authors before him, Fleming took ideas for his James Bond novels from the world around him and the people he knew. The plots were often heightened re-imaginings of his wartime experiences or altered versions of real-world intrigues he’d reported on as a journalist. He often drew upon the names of his real-life acquaintances when christening his characters: from Felix Leiter whose name is inspired by combining the middle name of Fleming’s school friend Ivar Felix Bryce with the surname of their good friends Tommy and Oatsie Leiter, to Mary Trueblood whose name is a nod to Ian Fleming’s secretary at the Sunday Times, Una Trueblood. Many of the female characters in Fleming’s stories have intriguing links to people Fleming knew and many could claim to have been immortalised under the stroke of Fleming’s typewriter keys.

An illustration of Miss Moneypenny from Ian Fleming's James Bond. Image shows a woman with black hair piled on top of her head in chic fashion, holding a smoking gun on a teal background.

Miss Moneypenny

‘Moneypenny screwed up her nose. ‘But, James, do you really drink and smoke as much as that? It can’t be good for you, you know.’ She looked up at him with motherly eyes.’

Thunderball

As part of the Special Operations Executive (SOE) during the Second World War, Vera Atkins is a strong candidate as an inspiration for Miss Moneypenny. Atkins would visit Room 055a in the Old Admiralty Building down the corridor from Fleming’s office and he would have known of her. She joined Section F (France) in April 1941 and oversaw the secret preparation of more than 400 agents, seeing off most of them in person. Vera was most intimately associated with the female agents whom she called her ‘girls’, among whom were Noor Inayat Khan and Violette Szabo.

Many who worked with Atkins could find her intimidating and protective of her operatives but she commanded the respect of her superiors. The atmosphere at Orchard Court, one of the SOE headquarters, was akin to a private members’ club, with women smoking at their desks and handsome men passing through and breaking into French. They were only known by their aliases.

Another inspiration for Moneypenny is hinted at in an early draft of Casino Royale, where M’s assistant is named Miss ‘Petty’ Pettaval, no doubt borrowed from Kathleen Pettigrew, the Personal Assistant to the Chief of MI6, Stewart Menzies.

Fleming had many loyal secretaries throughout his career and greatly admired their skill and dedication. At The Times, it was Joan Howe who typed the manuscript of Casino Royale. Others who played their part included Beryl Griffie-Williams and Una Trueblood, but perhaps Jean Frampton was the most significant. Letters between Fleming and Frampton appeared in 2008 at Duke’s auctioneers in Dorset. Amy Brenan of Duke’s comments

“You can look on Mrs. Frampton as Ian Fleming’s Miss Moneypenny because he really does seem to rely on her. She was the first person to read the books and the collection is interesting because it details how the James Bond books were put together in the early 1960s.”

Cover for the Moneypenny graphic novel written by Jody Houser, with art by Jacob Edgar.

Mary Ann Russell

‘Taking these people on all by yourself! – It’s showing off.’

From a View to a Kill

In the short story From a View to a Kill, the character Mary Ann Russell is an agent for Section F who saves Bond’s bacon against the Russian military intelligence agency. Her name is likely to have been inspired by a woman who played a significant role in Fleming’s life, Maud Russell. Her granddaughter Emily Russell has recently edited a revelatory collection of Maud’s war-time diaries, and explains:

‘Maud and Ian met in late 1931 or early 1932 and they quickly became close friends. Through Maud and her husband Gilbert Russell, Ian met a number of influential political figures during the 1930s and also obtained contacts in Military Intelligence. After Gilbert died in May 1942, Ian got Maud a job at the Admiralty. From 1943, she worked in the Admiralty’s Naval Intelligence Division (NID) 17Z, a section led by Donald McLachlan that was dedicated to generating white, grey and black propaganda from naval intelligence to undermine enemy morale.’

Maud shared the same zeal for her work at the NID as Fleming did, as she notes in her diary:

‘London, Thursday 10 December 1943 — On Monday the Scharnhorst sinking kept us very busy. Only Mc., C.B. & I. [Ian Fleming] in the room. Then came the news of the sinking of the blockade runner and more excitement.  Only Mc. reacts as I do, froths and fizzes over with inward excitement. I. of course is the same as Mc. and I – tension, excitement, hammering energy.GR’

A picture of Vesper Lynd from Ian Fleming's Casino Royale, seen as a comic book art of a white woman with dark hair and red lipstick

Vesper Lynd

‘”People are islands”’ she said. “They don’t really touch. However close they are, they’re really quite separate.”’

Casino Royale

A popular suggestion for the inspiration behind Vesper Lynd was the SOE agent Krystyna Skarbek, also known as Christine Granville. Polish by birth, she was recruited by the SOE, won a George Medal and was reputedly Churchill’s favourite spy.

Granville was remarkably beautiful and she stole, and broke, many hearts. She was certainly known to Fleming who briefly mentions her in his non-fiction book The Diamond Smugglers. The rumour that Ian Fleming had an affair with Christine Granville is unfounded as her biographer Clare Mulley and writer Jeremy Duns have explored. Christine Granville survived the War but was tragically stabbed by a love-crazed stalker in 1952, aged 44.

There were other members of the SOE who Fleming would have encountered during his time working with Section 17 in Naval Intelligence, where he was responsible for coordinating intelligence between divisions. Violette Szabo was recruited by the SOE at 23, as a war widow with a one year old child. She was dropped into France in 1943 and bravely served the war effort, in one instance fending off an SS Panzer division with a Sten gun before collapsing exhausted. After being captured, Szabo, was shot along with fellow agents Denise Bloch and Lillian Rolfe at the Ravensbrück concentration camp in northern Germany. Szabo’s defiance was greatly admired by her fellow prisoners and she was one of only four women to receive a posthumous George Cross Medal.

Whatever the truth behind the fiction, the women Fleming encountered during his time in Naval Intelligence were truly courageous. They faced daily dangers and risked everything to help secure the freedom of Europe. Fleming was inspired to write about many interesting characters from his real life, from naming Bond’s mother Monique after a former fiancée, to calling Bond’s Secretary Loelia Ponsonby after the Duchess of Westminster. We may never know the full extent of the real people who lend parts of themselves to the James Bond story, but it’s certainly inspiring to learn more about these real-life heroes.

Tom Cull runs Artistic Licence Renewed. He knew iconic Bond cover artist Richard Chopping well as a child and Tom’s great grandfather hired a young Ian Fleming to work at the family bank Cull & Co. between 1933 and 1935.

Interview: Audio Book Narrator, Nathaniel Parker

Join us as we delve into the world of audiobooks with TV, stage and voice actor, Nathaniel Parker, narrator of all nine Young Bond books.

Do you remember your first experience with James Bond?

It was wonderfully exciting. I think my first experience was at the Kensington Odeon. I thought it was Goldfinger, but I would have only been two years old, so I think it was probably You Only Live Twice. It felt so grand, with the audience standing and singing the national anthem, guided by an organist on the stage in front of the screen, before the curtain up. Such a glamorous introduction. I was hooked.

Illustration of James Bond, from the young Bond book series. James is shown in his Eton school uniform as a young man.

How did you find your voice for Young Bond?

Well, obviously, I look to my own voice for James himself because I have always cherished the thought of playing him! This is the biggest buzz of all you see, pretending to be James Bond. The voices are great fun to find, but I will admit to using some old Bond villains from the films as a basis for some of them – Charles Gray, for instance. Such fun to do. I worked with him years ago and his marvellous gravelly voice with a side helping of evil is wonderfully adaptable.

I do look to include as much variety as possible, but perhaps that’s only in my head. I can usually picture the character and fit a voice to that. Sometimes, like in Strike Lightning, I am told quite clearly by the author. That always helps. Take a listen.

Illustration of James Bond from the Young Bond book series. James is shown here in his striped school blazer as a young man.

How does Bond change on the journey from SilverFin to Strike Lightning?

He definitely changes. He has to grow up fast. One of the most intriguing parts of the process is seeing how he learns various death-defying talents and how they progress into the grown up version we see in the later books. There’s a little less naivety and he accepts the thrill of the moment as a bit of a drug. What is unchanging is his reliance on justice and his ‘fight for right’.

What is your most memorable Young Bond moment?

I think it was in Hurricane Gold, when Bond has to get through an obstacle course and there are alligators and more waiting to snap him if he falls – reminiscent of Live and Let Die. I think I generally enjoy the pace as it all builds up to the denouement. Strangely for me, I make slightly fewer mistakes at pace. I am slightly dyslexic, so it can be a wee bit tortuous for the engineer.

Can you tell us more about the process of recording audiobooks?

One of the joys about audiobooks that has not been afforded to me as an actor on stage or screen, is the opportunity to do my voices. I have always loved imitating others and finding voices and accents, and this is the perfect platform. Some books, like the Artemis Fowl series I used to do, actually have made up creatures, so finding voices for them is terrific fun. As for performance, it is relentless. Nowhere else do you sit in a tiny room for roughly eight hours a day trying to keep up the pace and passion that in turn keeps the audience listening. The studios themselves often get hot and then you put on the air-con and then your voice dries up, so it’s a delicate balance, and you need to get on quickly and trustingly with your producer and engineer through the window.

Which are your favourite characters to bring to life?

Baddies, definitely.

And finally, if you were to feature in a Young Bond novel, would you play a heroic ally, or a scheming villain?

Well, to be honest the heroic allies don’t get much of a look in. They’re there a lot, but you only really want to know what’s happening to James Bond himself, and that is usually down to the villain. So baddie for me.

Find out more about Nathaniel Parker here.

The Story Behind: Ian Fleming & The President

Author, screenwriter, filmmaker and Bond aficionado, John Cork investigates how From Russia, with Love came to be on President John F. Kennedy’s bedside table and went on to appear on his top-ten book list.

From The President’s Voracious Reading Habits, LIFE magazine, 17th March 1961:

‘Kennedy has confined himself mostly to nonfiction, but like many of the world’s leaders he has a weakness for detective stories, especially those of British author Ian Fleming and his fictitious undercover man, James Bond.’

The story has been told far and wide. In the late 1950s, Ian Fleming’s James Bond novels sold well in the UK, but in the massive US market, sales barely made a ripple. Not one single Bond title generated a second printing in either hardback or paperback in the United States. All that started to change in March 1961 when LIFE magazine published a list of the president’s ten favourite books, naming From Russia, with Love as one of them. It was, by far, the highest profile endorsement for which an author could hope.

How did From Russia, with Love get on the president’s list? Like so many things associated with 007, it happened with the help of a remarkable and strong woman.

She was born Marion Oates in Montgomery, Alabama, the Cradle of the Confederacy. Marion came from obstinate and ambitious stock. Her grandfather, William Oates, once fractured a man’s skull in a fight. He went on to be deemed a Confederate Civil War hero, having led a charge up Little Round Top during the Battle of Gettysburg and then losing an arm at Fussel’s Mill. He returned to Alabama, was elected to Congress and served as a combative one-term Governor.

Raised to be a society hostess, Oatsie (as she was known) married Thomas Leiter in 1942.  Tommy was the grandson of one of Chicago’s great real estate barons and two of Tommy’s aunts married British nobility. Tommy’s father once attempted to corner the U.S. wheat market,  which is a fine gamble as long as one has family that can pay off the $10,000,000 of debt when it all goes pear-shaped. The night before Oatsie’s wedding, legendary Alabama-born actress Tallulah Bankhead explained the finer points of intimate marital relations to her. That was Oatsie’s world, and it was quite a place.

Oatsie and Tommy Leiter took up residence in ‘a most glorious apartment’ built inside the converted stables of the famed Leiter family mansion near Dupont Circle in Washington.

‘I knew both Ian (vaguely) and Ivar [Bryce – a close friend of Ian’s] in Washington during the Second World War,’ she recalled in 2000. After the war, Oatsie and Tommy started vacationing in Jamaica for what was known then as ‘the season.’ ‘We’d be there three months a year. Which was lovely. Really lovely.’  During her stay in 1949, she was dramatically re-introduced to Ian Fleming.

‘I’d gone to a party, and a great friend of mine was very much in love with Ian, or thought she was. And he was treating her in the most atrocious way. And with the arrogance of youth, I walked up to Mr. Fleming when I was introduced to him, and said, “Mr. Fleming, I consider you’re a cad.” And he looked at me and said, “Mrs. Leiter, you’re indeed right. Shall we have a drink on it?”’

They did and became fast friends. ‘Ian really had enormous charm…he was irresistible as a companion, as a guest, as a friend.  And he was an extremely good friend.’

In the first James Bond novel, Casino Royale, Fleming borrowed Tommy Leiter’s last name for Bond’s CIA accomplice, Felix.  Naturally Fleming sent Oatsie and Tommy a copy and Oatsie, never one to mince words, quite enjoyed the book.

Oatsie and Tommy maintained homes not just in Washington D.C., but in Aiken, South Carolina and Newport, Rhode Island. Newport also happened to be where Jacqueline Bouvier grew up at Hammersmith Farm. After marrying John F. Kennedy, a newly elected young senator from Massachusetts, Jackie and JFK spent summer vacations there. Oatsie knew JFK and Jackie socially. In 1954, JFK called up Oatsie. ‘Oates, I’m sick,’ she recalled Kennedy telling her. ‘“Have you got anything to read? I can’t find anything in this house that I think is possible to read.” And I said, “Yes, do you like spy stories?”’

She sent over her copy of Casino Royale. ‘He was crazy about it. And he said, “If you get another one at any point, let me know.”’

Book cover of Casino Royale by Ian Fleming, featuring yellow typography and a repeated heart motif.

Jackie Kennedy, on her husband’s recommendation, also took to reading the Bond novels, and she made another important connection for Ian. ‘I was introduced to Fleming’s books,’ noted CIA Director Allen Dulles, ‘by Mrs. Jacqueline Kennedy herself. “Here is a book you should have, Mr. Director” she said.’ Dulles went on to praise From Russia, with Love as ‘one of the best of Fleming’s thrillers.’

In March, 1960, Ian Fleming arrived in Washington D.C. He was staying as the guest of one of the Sunday Times’ most renowned correspondents, Henry Brandon. On Sunday, 13th March, Ian went to see Oatsie who was now divorced from Tommy Leiter. ‘Ian and I were going somewhere, probably the National Gallery or something, and we were driving down one of the streets in Georgetown. And I saw Jack and Jackie walking down the street. As they started to cross one street, I stopped. And we yelled,’ Oatsie recalled. ‘I said, “Jack, this is Ian Fleming.”  And Jack poked his head in the window and said, “Not the Ian Fleming.” And I said, “Yes.” “Well,” he said, “bring him for dinner.”’

Castro, not yet officially claiming to be communist, was nonetheless quickly nationalizing U.S. industries in Cuba and signing lucrative trade deals with the Soviets. Joseph Alsop wanted to know how James Bond would handle Castro. Fleming said ridicule was the proper response. ‘And Ian had us all absolutely hysterical saying that he had some plots that he thought would be wonderful if the CIA would play on Castro,’ Oatsie said.

Indeed, Fleming opined that there were only three things for which the Cubans cared: money, religion and sex. Thus, the first plot involved counterfeiting Cuban money and dropping it by the bushel from planes along with notes that read, ‘compliments of the United States.’ To take care of religion, Fleming proposed a massive Bat-signal of sorts that would put a cross in the night sky above the nation. The Cubans would stay up all night praying to the mysterious sign rather than worshipping Castro.

The last idea was the one that caused the greatest laughter. Fleming noted that beards were essential to the Cuban revolution and had become a sign of male virility on the island. The CIA, he declared, could promote the idea that nuclear fallout was collecting in men’s beards:

‘The CIA could just fly over Cuba and drop these leaflets, telling the women of Cuba that all the men wearing beards were impotent,’ remembered Oatsie. All the men would shave their beards, and with no beards, there could be no revolution.

At the CIA’s Monday staff meeting, John Bross told the story of his Sunday evening, relating with gusto Fleming’s plot to get Cubans to shave their beards. CIA Director Allen Dulles, who was a fan of the Bond novels and had dined with Fleming in London, was more alarmed than amused and wanted to know how to reach Fleming, immediately.

‘The telephone rang, and it was Allen Dulles,’ according to Oatsie. ‘“Oatsie, where is Ian Fleming?” And I said, ”I don’t know, I suppose he’s in bed at Henry Brandon’s.”  “Well, I have to get in touch with him.”’

Dulles called Brandon only to find that Fleming had already left for New York. There is no record of Dulles reaching Fleming on that trip, but Fleming’s story of the Cubans shaving their beards was not published in Alsop’s column nor propagated by Fleming in the many articles he penned during this era, and there may have been a good reason for that.

What Bross did not know was that the CIA was that very week preparing to present to the Eisenhower administration a plan entitled ‘Program of Covert Action Against the Castro Regime.’ This program would lead directly to the Bay of Pigs invasion, but it also contained plans, as President Eisenhower later stated, to ‘undermine Castro’s position and prestige.’ One of those plans involved dusting Castro’s boots with thallium salts. The idea was that the salts would get on Castro’s fingers, and when he touched his beard the poison would make the beard fall out in splotches, humiliating the revolutionary and making him look weak, impotent and sickly.

Six months later, according to some sources, CIA-backed operatives entered the Hotel Theresa in Harlem (where Castro and his entourage were staying for the opening of the UN General Assembly) and dutifully dusted Castro’s boots with powdered thallium salts. Other, possibly more reliable, sources, claim the plot was never carried out. Regardless, Castro’s beard remained. In 1977, Castro railed against the CIA plots, telling interviewer Fred Ward, ‘I could write a book [about the CIA plots]! Exploding cigars, poisoned cigars, powder to make my beard fall out! Bazookas! Grenades! Incredible!’

That night Fleming joined Oatsie at the Kennedy’s home. Also in attendance were the columnist and part-time CIA operative Joseph Alsop, John Bross (soon to be a deputy director at the CIA) and the painter and Kennedy confidant William Walton. ‘And somehow the conversation got around to Castro, which was not all that unusual in those days,’ Oatsie recounted.

John F. Kennedy won the election in November 1960, and in March the following year, LIFE ran their article on Kennedy’s reading habits. The inclusion of From Russia, with Love stood out among the scholarly biographies and histories, most many decades old. Some have maintained that Kennedy was repaying Fleming for the entertaining evening by including From Russia, with Love on the list of favourite books, which could certainly be the case. Others say that he wanted a book on the list that showed he was not so much of an egghead that he couldn’t enjoy popular literature, and Fleming happened to be the one he chose.

Henry Brandon told a different story. He said that he knew for a fact that a White House staffer compiled the list by talking to others like Jackie and William Walton, and that Kennedy, far too busy with the nation’s business, never approved it. Regardless, the public proclamation that Kennedy was a fan gave Fleming’s American publishers an important tool to promote the James Bond novels. Dulles himself acknowledged this in an essay he penned after Fleming’s death:

‘The Kennedy interest in James Bond gave Fleming’s books a great lift, and Ian well knew it. But,’ Dulles added, ‘there is something more than that in his success.’

To a casual observer, it may seem like that ‘something more’ is luck. Without a well-placed friend like Oatsie Leiter, a chance dinner invitation, and a White House staffer’s audacity, From Russia, with Love would have never appeared on the list in LIFE. These things, though, did not happen by luck or chance. No, Fleming appeared on the list in LIFE because when called a cad, he was cool under pressure. When he sat down to write a novel, he created a thrilling and unique tale that engaged readers and was easily recommended. When he found himself at dinner with his most influential fan, he rose to the occasion. Fleming appeared on the president’s list in LIFE because of his talent and the sheer force of his personality. In that, Fleming embodied so many of the qualities we admire in 007.

As to the wonderful woman who brought Kennedy and Fleming together, she is known as one of the most charming and respected scions of Newport. She befriended many presidents, senators and diplomats over the decades with her irreverent humor, her lack of pretension and disarming grace. In her nineties, she said outliving so many of her friends like John F. Kennedy and Ian Fleming is a curse of sorts. Yet, looking back on her remarkable life, she expressed only a few regrets. A small one was her chance at immortality on the pages of a Bond novel.

‘I said to Ian once, not long before he died, “Ian, I’m really terribly hurt, you’ve got every friend you’ve ever known in those books,” because all the characters in his books are taken from his friends.  And he said, “Oh, I couldn’t possibly use Oatsie. It’s far too distinctive. You know, it just wouldn’t do.” And I said, “Come on, Ian, anybody who can use Pussy Galore can use Oatsie.” …He said, “Alright, I’ll use you in the next book.”  But that was…’

She trails off, her eyes filling with memories eventually punctuated by a shrug. ‘He died shortly after that.’

Thanks to the John F. Kennedy Presidential Library and Museum. Photos courtesy of Cecil Stought and Robert Knudsen.

Interview: Illustrator, Patrick Léger

We check in with New York-based illustrator Patrick Léger who created the art for the US paperback edition of Anthony Horowitz’s Trigger Mortis.

What was your first encounter with James Bond?

My mother was a huge Timothy Dalton fan, and I remember watching our VHS of The Living Daylights constantly, growing up. I’m a bit of a movie buff so I’ve seen every Bond film. From Russia With Love is one of my favorite movies from the ’60s.

Your cover is a gorgeous hark back to Bond’s ’50s and ’60s origins – could you tell us about your inspirations?

When I was asked to do Trigger Mortis, I had just finished another spy novel cover a few months earlier and was currently working on an assignment for a men’s fashion magazine, so a James Bond cover seemed like a inevitable next step! The scene for the cover didn’t require too much research but I tried to make the fashion, hairstyles, and other details appropriate for the period. I referenced several of the earlier Bond films, which are a treasure trove for the look and the style of the ’60s. I did look at some of the original Bond covers, but I was more enamored with Robert McGinnis’ posters for the films and his own incredible covers for various crime novels of the ’60s and ’70s.

What originally drew you to the style of the ’50s, ’60s and ’70s?

When I first began illustrating, I was working in ink and looking at a lot of work by the illustrators from the 60s and 70s to study mark-making and learn more about the medium. Their techniques of drawing and that kind of generalised realism made it’s way into my own work and became a strong aspect of my own style.

How did this cover process differ from independent artwork projects?

Not being able to show Bond’s face was an interesting challenge. Typically you have those kinds of limitations with any book now though because marketability has become a big part of the process. I think overall it was actually easier to work on this than a typical book cover. James Bond is such an iconic character; you don’t really need to convey to the reader as much as you normally would. They already know what to expect from a Bond adventure.

How does the process for covers differs from other pieces of illustration?

Often with books, the art director will describe a rough concept, because the book may still be in the editing phase or there isn’t enough time for the illustrator to read through the entire text before the sketches are due. Here I believe the scene used was chosen by the Ian Fleming Estate. With editorial work, it’s usually entirely up to the artist to come up with multiple concepts for an article from which the editorial staff can choose a direction.

Your style always includes a striking palette – can you talk us through your colour decisions for Trigger Mortis?

The color choice was mainly up to the art director/designer in this case. We worked together doing various combinations and landed on those. The original idea was to use very limited color, so we tried to find 3-4 colors that would work in conjunction with the title design. I often use brighter colors because it helps to set off the the heavy, black linework in a way that a muted color scheme wouldn’t.

Explore Patrick Léger’s work here.

 

 

 

Interview: Comic Artist, Jason Masters

We catch up with Jason Masters, South African artist responsible for the 007 comic book series’ VARGR, Eidolon and Black Box, to find out about his work, his collaboration with Warren Ellis and time with James Bond.

Are you a fan of the Bond universe?

I’m pretty sure I was hooked after the first cold open in the film Octopussy. It introduced me to the idea that there were other 00’s and that they could die. How was Bond going to defeat a villain that 009 couldn’t handle? Surely he was better than 007? He was 2 whole numbers above Bond! At least that’s how my kid’s brain interpreted the information. I loved it and made my way backwards and forwards through the catalogue from there.

Cover for the Eidolon graphic novel written by Warren Ellis, with art by Jason Masters.

How did you go about creating Bond’s look for VARGR? 

If James Bond hadn’t been played by so many different actors, the design process would probably have been a lot easier. There were times I’d sketch something, come back, and realise I’d drawn Timothy Dalton or Sean Connery. I thankfully got to bounce a few ideas off Warren in the beginning and that was incredibly helpful. In the end, starting with the actor Hoagy Carmichael as a base got me to where I am now. I easily did 20+ versions of Bond’s look before everyone was happy. Everyone has an idea of how Bond should look and pleasing everyone is very difficult.

I spent quite a lot of time thinking about 007’s body language. How would someone who is, almost certainly, the most dangerous person in the room carry himself? There would be a confidence there, not arrogance per se, but comfort in almost any situation. At any point, wherever he is at the time, it certainly isn’t the worst thing he’s been through that day. ‘Comfort’ within his surroundings might be too strong a word but any situation in which his environment isn’t trying to murder him must be quite a relief.

Bond might appear quite simple at face value but his aesthetic choices seem to say he’s a man who could be dead at any point, so why not experience the finest the world has to offer? He’s sometimes a killer dripping with brutal character.

What’s it like collaborating with the legendary Warren Ellis?

I’ve wanted to work with Warren for a long, long time. I never quite dreamed I’d get the added bonus of first working with him on a character so tremendously iconic. He’s a very generous creator, allowing me to throw in the occasional storytelling idea and answering my inane questions succinctly. He could have been a horrible monster to work with and I would still have come out of this smiling. It’s been quite the opposite experience in fact.

Was there anything he asked you for which was too crazy to draw?

Definitely not! To paraphrase Robert Crumb, ‘it’s just lines on paper’. I don’t think you could ask me to draw anything that was too crazy, difficult, sure but that’s the job. One of the most satisfying parts of the comic drawing process is the problem solving.

Can you talk through the style and atmosphere you have in mind when you sit down to draw these Bond stories – and how you use layout to reinforce that?

My pre-comic background is in advertising, art direction and design. From there I moved to commercial illustration and as a result, I like to approach a project by first trying to figure out a look for it. It’s a habit I can’t break but it does get me into what I think is the correct headspace for each job.

I did quite a bit of research on the old James Bond newspaper strips. I thought it would be fun to take the look and feel of that but give it a modern storytelling twist. Then if possible throw in a little bit of the grandeur that is present in all the settings of the films.

These are all the ingredients I tried to throw into the pot. What I achieved was nowhere near what I aimed for but I got close enough for me to at least feel I had made something enjoyable for the reader. Thankfully Dynamite also agreed to let me bring Guy Major on board for the colours and he’s been a great collaborator. Seeming to know exactly what I was trying to do from the start.

We love the crisp realness of the settings and the architectural detail. Is this something which has always been a component of your style? 

There’s probably always been an element of that in my work. I want backgrounds to be characters that are influenced by how the characters react to them. Unfortunately, the only way I know right now to make environments believable is to add details.

How do you approach the action and intense gore of Warren’s scripts? 

Warren writes action exactly how I like to draw it. While I love bold over-the-top superhero action I believe there’s also a place for violence with immediate consequences. I love depicting the almost chess-like moves and decisions a character has to make in a fight to get the results he wants. Bond is the most like this of all the characters I’ve ever drawn. Using what’s around him to get the job done with the least amount of attrition. That’s not always possible of course and sometimes he gets hurt. Violence is ugly and brutal and in these stories it shouldn’t be elevated. Violence without consequences is dancing. I’m not sure there’s a comic artist out there that doesn’t giggle to themselves, at least a little bit, when they have to draw something gross.

Cover for the VARGR graphic novel written by Warren Ellis, with art by Jason Masters.

Can you talk about your variant cover for issue #1? Were you given any sort of brief, or was it purely a case of constructing an image which embodied the spirit of this new Bond iteration?

Dynamite has been great with letting me try out ideas. I wanted an image with a minimal colour palette that would stand out on the comic shelf. In Bond’s hands anything could be a weapon: walls, furniture etc. So the idea was an environment made out of weapons while he, a weapon made flesh, stalked or was stalked by his prey. I think it turned out pretty well.

And finally, is the character Masters in the comic, a total coincidence?

Ha! I actually asked Warren that exact question when I got the first script but it turns out he hadn’t realised he’d done it. I think subconsciously, knowing Masters’ end, Warren might have wanted me dead for harassing him about working together.

Find out more about Jason Masters here.

The Story Behind: Bond On Radio

We talk to Martin Jarvis OBE, actor, director and producer about 007 on the radio. Martin has co-produced a number of drama adaptations of Ian Fleming’s Bond novels for BBC Radio 4, narrated the You Only Live Twice audiobook, and is the voice of Ian Fleming in the Radio 4 production of Thunderball.

When did your interest in producing for radio begin? What was it about the medium that inspired you to produce your own dramas?

A life-long interest in radio drama. At first as a child, enjoying adventure serials on radio – Journey Into Space and Dick Barton Special Agent. Great stories and exciting spring-boards to the listening imagination. Then as an actor, recording all kinds of plays and comedies in BBC radio studios (and writing some of them) taught me the basic techniques of creating drama for radio. It seemed only natural that my company, Jarvis & Ayres Productions should start to offer the BBC specially produced plays and comedies for the medium. I’m delighted to say that BBC saw the force of this too. Rosalind Ayres and I have now produced hundreds of programmes ranging from plays, series, serials and readings, as well as big dramas for BBC Radio 3 and 4. And, we’re pleased to say, six James Bond feature-length radio-screenplays. We have also directed and/or performed numerous productions for National Public Radio in America.

How did you decide which of Fleming’s books to adapt?  

At the suggestion of Ian niece, Lucy Fleming, EON Productions, the rights holders at that time, gave permission for a production. They suggested we produce Dr. No as a one-off to celebrate Ian Fleming’s centenary. There was no question of doing more than just that single dramatisation. However it went so well with the BBC Radio 4 audience – Toby Stephens a perfect 007 and David Suchet a brilliantly authentic Dr. No – that EON asked if we might like to produce another of the titles. Of course! It was suggested that Goldfinger might be fun – and so it turned out, with Sir Ian McKellen inhabiting the role with great wit and brilliance – and a fine Latvian accent!

What do you think it is about Fleming’s work which makes it so well suited for the radio?

As well as his understanding of the complex world of espionage, Fleming has great and graceful narrative skills. In his travel writing he is always able to evoke the colours, scents and atmosphere of exotic locations, and this he does equally compellingly in his novels. The scenarios are perfect, too, for radio, where you can literally go anywhere – under the sea, above the Bahamian waters in a sea-plane, visit a Saratoga race track, ride on the Orient Express, join the mafia in New York and win or lose at cards in Le Touquet or Las Vegas. Wonderful, enticing locations, and characters – all transposed from Fleming’s entertaining writing directly into the actors’ (and therefore the listeners’) imagination.

Was 007 a part of your literary upbringing?

Yes, along with P.G. Wodehouse, John Buchan, Richmal Crompton, Agatha Christie, and Shakespeare! I read most of the novels and always particularly enjoyed the card game sequences. When I came to adapt /direct On Her Majesty’s Secret Service, Diamonds Are Forever and most recently Thunderball for radio, I initially wondered how it would be possible to ‘show’ the minutiae of baccarat, chemin de fer or blackjack. But it seems to work well, partly due to the fact that, in radio, we can enter James Bond’s head and almost take part in the game ourselves via his inner thoughts and responses. No lack of focus there!

How do you set about casting the stories? 

It seems that many actors have enjoyed the Bond novels. And it has been gratifying that so many stars have relished the chance to take part in our productions including Toby Stephens, Dame Eileen Atkins, Stacy Keach, Sir Ian McKellen, Joanna Lumley, Tom Hollander, David Suchet, Alfred Molina, Jared Harris, Tom Conti, Nigel Havers, Lisa Dillon, Peter Capaldi, Alistair McGowan, John Sessions, Tim Pigott-Smith, Janie Dee, John Standing, Mark Gatiss and many more. When Mark joined us to play Colonel Kronsteen in From Russia With Love he told me ‘this is the best acting day of my life!’

Ros Ayres and I have of course worked with many of this extended company on screen or in the theatre – it’s very often an excuse to get together and have fun (again) courtesy of 007, the BBC, EON and the genius of Ian Fleming.

Is there any significance in the order in which you’ve chosen to produce the Bond radio dramas? Or is it a case of which one seems the most interesting project to follow the previous?

Sometimes there’s a neat progression. After Diamonds, in which Bond is in quite a bad way at the end, it seemed appropriate to bring him back after ‘some time away’ and have him sent (in Thunderball) to the Shrublands health farm. But then in his adventurous life he often needs a period of recuperation before the next extravaganza. Don’t we all!

Find out more about Martin here.

Opinion: Is Moonraker Fleming’s Finest Work?

Writer Tom Cull draws the links between Moonraker and Trigger Mortis, and explores the place Fleming’s third novel holds in the minds of fans and critics alike.

One of the main of conceits of Anthony Horowitz’s James Bond novel Trigger Mortis is the Russian-backed villain, Jason Sin’s plot to deal a symbolic blow to America using a V2 rocket – a throwback to Ian Fleming’s Cold War era novels. As we know, the chronological antecedent to Mr. Horowitz’s novel is Goldfinger, but much of this new book’s DNA can be traced back to Fleming’s 1955 masterpiece, Moonraker.

Moonraker stands unique in many ways amongst the Fleming canon and indeed many, myself included, consider the novel some of his finest work.

The seeds of Moonraker had been germinating for years in Fleming’s mind after his wartime experiences. The bitter after-taste of the Nazis and their terrible bombing by their V1 rockets in 1944 had a profound effect on him, not least the death of his friend Muriel Wright, killed during an air raid in March 1944. They had met during the summer of 1935 at a ski resort in Kitzbühel in the Austrian Tyrol.

Book cover for Moonraker by Ian Fleming, featuring bold black and white typography and a yellow and red background reminiscent of flames.

A few years later on 16th December 1951, Fleming and his now wife Ann, took over the lease of his great pal Noel Coward’s beach front home ‘White Cliffs Cottage’ at St. Margaret’s Bay in Kent. Ian loved it there and could indulge his love of golf at the nearby Royal St. George’s Club, thrash down the Dover Road on his commute to London and enjoy keeping an eye on the passing ships in the Channel.

By 1955, the Cold War was dipping to frosty temperatures. Burgess and Maclean had defected in 1951 (although not made public until 1956); in 1953 Nikita Khrushchev had become Soviet leader and the Warsaw Pact was formed in 1955. Fleming’s own commando unit – the 30AU – had been involved in the secretive targeting and capturing of Nazi scientists in 1945; work later carried out by the T-Force.  One such scientist was Wernher von Braun, a member of the Nazi party and the SS, who was credited with the creation of the V2 rocket who subsequently surrendered to the Americans to then be recruited under their program Operation Paperclip.

All in all, rich seams to mine for Fleming and Horowitz, but Fleming waited until this third book to finally get it down on paper. Now fully ensconced at White Cliffs cottage it seemed the right time, but it did not have an easy birth. Fleming explained that the novel emerged from a failed attempt to sell a film script to the Rank Organisation:

‘This was written in January and February 1954 and published a year later. It is based on a film script I have had in my mind for many years. I had to more or less graft the first half of the book onto my film idea in order to bring it up to the necessary length.’

Book cover for Moonraker by Ian Fleming, featuring a rocket against a blue background.

In the novel, Sir Hugo Drax employs fifty scientists to work on a missile based at the foot of the White Cliffs between Dover and Deal. Drax, whose name was borrowed from the wonderfully named Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax and Fleming’s brother-in-law Hugo Charteris, was the perfect combination of a traitorous former Nazi under the employ of the Russians, who had ingratiated himself into British society. He was believable and a threat that was close to home for British readers.

Nicholas Rankin, author of ‘Ian Fleming’s Commandos’ also sees Moonraker as the perceived threat in the “British reliance on German scientists and German technology – even in motor cars, British was best.” And so perhaps began Fleming’s penchant for overt branding (or product placement in today’s parlance) still seen as a powerful rallying cry for politicians and the 007 film franchise. In Moonraker he pits Bond’s Bentley against Drax’s Mercedes. No prizes for guessing the winner but the meta-branding effect works and you remember the car Bond drives.

The setting, villain and the particularly British Bond girl all give Moonraker the noir-ish feel of a detective novel in the vein of Eric Ambler or John Buchan. It also gave a more realistic insight into the everyday life of a secret service agent:

‘It was only two or three times a year that an assignment came along requiring particular abilities. For the rest of the year he had duties of an easy going senior civil servant – elastic office hours from around ten to six; lunch, generally in the canteen; evenings spent playing cards in the company of a few close friends, or at Crockfords; or making love with rather cold passion to one of the three similarly disposed married women; weekends playing golf for high stakes at one of the clubs near London.’

It could be a day in the life of former senior civil servant Ian Fleming…

Even the distractions of the Bond girl are ancillary to this mission, which as a result gave us the most believable Bond girl of all in Gala Brand. Gala is engaged to be married, which offers a fresh challenge to Bond. There are real moments of pathos and wistfulness in Bond’s relationship with Brand resulting in some of the most romantic prose Fleming ever wrote, but even he knows when he’s beaten and has to ‘take his cold heart elsewhere.’

“’I was going to take you off to a farmhouse in France,’ he said, ‘And after a wonderful dinner I was going to see if it’s true what they say about the scream of a rose.’

She laughed. ‘I’m sorry I can’t oblige. But there are plenty of others waiting to be picked.’”

A steel dagger even to Bond’s cold heart.

Book cover for Moonraker by Ian Fleming, featuring an illustration of a rocket, and a white woman looking shocked.

In Susan Hill’s introduction to the Vintage edition of Moonraker, she considered the book the only one Fleming used to ‘tackle a subject of real and serious contemporary concern.’

Why is it only the favourite book of Bond aficionados rather than the casual reader? Responses to the novel are mixed with some readers bemoaning the lack of exotic locations. ‘We want taking out of ourselves, not sitting on the beach in Dover.’ (Matthew Parker, Goldeneye. London: Hutchinson 2014). Audiences at the time can be forgiven for this gripe off the heels of the highly exotic Live and Let Die.

The novel is estimated to have been set in 1953, which was a confusing time for Britain transitioning out of an Empire that Fleming’s novels in general reflected. He presented a conflicting view of the world, on the one hand a conservative traditionalist and on the other a libertarian. Historian David Cannadine said in his 1979 paper James Bond and the Decline of England, ‘Bond’s England is unashamedly the England of post-war Conservatism.’ And make no mistake about Moonraker. Fleming sent Bond to do a job on behalf of the Free World, ‘the West’ or even England in the fight against communism.

The tough man of the world. The Secret Agent. The man who was only a silhouette.”

Tom Cull runs Artistic Licence Renewed. He knew iconic Bond cover artist Richard Chopping well as a child and Tom’s great grandfather hired a young Ian Fleming to work at the family bank Cull & Co. between 1933 and 1935.