James Bond’s veteran screenwriters have shared some of The secrets of writing 007’s memorable lines.
Neal Purvis and Robert Wade took part in a rare interview for the British Film Institute (BFI)’s celebration of the screen spy’s 60th birthday as they looked back on their joint career bringing Bond to life – often, they explained, with another writer to give their words “a polish.”
The pair’s first outing for 007 was for The World is Not EnoughThis is the third movie in the franchise that stars Pierce Brosnan. Bruce Feirstein, an American writer continued the work. Later, the work was continued by Bruce Feirstein. Casino Royale – Daniel Craig’s debut – it was handed over to Paul Haggis to finish. And on last year’s epic, There is no time to die, FleabagPhoebe Waller Bridge, star of the Star Trek, was invited onboard.
“When we’ve finished our job on the screenplay, it’s basically goodbye Rob and Neal,”Purvis spoke to the BBC in London. “With Casino Royale, for instance, Paul Haggis took over. And with Skyfall it was John Logan, but obviously always working with the director.”
The pair’s 15-year collaboration with Daniel Craig as 007 saw them create a complex narrative, even though he hadn’t been cast when they first put pen to paper. Purvis explained:
“So in that case we were writing our story with no actor in mind but from Ian Fleming’s original Casino RoyaleNovel [published in 1953]. We tried to follow his story as closely as possible. Daniel was then cast in the role, and we eventually saw what Daniel could do.
“Daniel’s Bond could have the strength and determination and bravado that Pierce had before him. But the actual dramatic scenes were different so inevitably the dialogue moved on. As early as Casino Royale the tone changed.”
Questioned on the anniversary of 1962’s release Dr. NoSean Connery played the lead role. They were also asked their thoughts on the Bond film’s special qualities and how it would help to launch a 60-year franchise.
Wade admired Connery’s charismatic presence, but he added: “There are other really basic things, like the editing. It’s hard now to remember how revolutionary the editing was: it completely changed how a certain kind of film was made.
“If you look at Dr. No now – the colours, the cutting, the cinematography, the locations and of course the wonderful music – it still leaps off the screen at you.”