One of their tasks on No Time to Die was to design a house in Jamaica where Bond has been living under the radar. What kind of house would Bond live in?
‘Bond’s got taste. He’s got elegance. He’s understated. British. It’s classy’
Neal Callow, No Time to Die art director
“It’s more about the moment,” Callow says. “A lot of Bond is about the actor playing him. So what state of mind is James Bond in, and what does Daniel Craig bring to James Bond?
“How can we represent that personality and mood, that moment in the life of James Bond, through architecture and design?
“So Bond’s retired from the service. He’s gone to get away from it all in Jamaica. What would he be doing in Jamaica?
“Well, he’s not going to be sitting around sipping martinis – he’s not that in that kind of moment in his life. He’s going to be fixing boat engines, fishing and reading books. So what kind of books would he be reading at this point in his life?
Subscribe to The Big IssueFrom just £3 per week
Take a print or digital subscription to The Big Issue and provide a critical lifeline to our work. With each subscription we invest every penny back into supporting the network of sellers across the UK.
A subscription also means you'll never miss the weekly editions of an award-winning publication, with each issue featuring the leading voices on life, culture, politics and social activism.
“The set decorating department will want to know the director and Daniel’s vision for that moment, then that information will filter down. We’ll take that as a kind of brief and try to represent the emotional place the character’s in through our design and decoration.”
What would their advice be if we wanted to make our home more Bond-esque?
“He’s got taste,” says Callow. “He’s got elegance. He’s understated. British. It’s classy. Bond enjoys quality but it’s not to show off. Things will be well made, well considered.”
“He also has a sense of humour,” Bennett adds.
Should we also consider the dynamic angles, bold shapes, dark and light?
“That’s a lot about cinematography and where the legacy design of James Bond came from,” Callow says.
“Ken Adam was the master of that. He was half drinking in the most innovative ideas in art and architecture of the time, and the other half was about composing shots for film, using shadow and light and dramatic angles to frame the characters in a memorable composition.
“We try to do that as much as possible and pay respect to the legacy. But it still has to be contemporary.”
The Big Issue TVShowcasing documentaries on the topics that matter the most.
Award-winning documentaries hand picked by The Big Issue. Use promo code 'BIGOFFER' to get your first month free of charge.
Says Bennett: “And I would say that when you do start to see angular architecture, shadows and bolder statements, the moment for Bond is changing.
“With the design of Bond you’re led in from reality. Slowly, subliminally you’ll be brought into these other dimensions.
“You probably won’t even realise it, but if you go back and look you’ll go, hang on, we were taken to a different world. But it felt part of reality because we are absorbed by Bond’s moment. It’s all about the moment for Bond.”
@stevenmackenzie
This article is taken from an interview in the latest edition of The Big Issue magazine. If you cannot reach local your vendor, you can still click HERE to subscribe to The Big Issue today or give a gift subscription to a friend or family member. You can also purchase one-off issues from The Big Issue Shop or The Big Issue app, available now from the App Store or Google Play.
