On emerging from the Underground we soon found the display of Aston Martins from the Aston Martin's Owners Club that had taken up residence in Covent Garden to help promote the museum's current exhibition.
We then got a taste of things to come as we found that there were 3 cars on display outside from the Bond Movies - The Aston Martin Vanquish from Die Another Day and 2 Aston Martin DBS's from Casino Royale and Quantum of Solace respectively.
As we entered the London Film Museum and got our tickets and programme we were told that a talk from award winning Special Effects Supervisor John Richardson had just started. So despite being desperate to look at the amassed vehicles we dashed straight off to hear John's talk on his involvement with the Bond films.
Accompanied on stage by Empire magazine assistant editor Ian Freer, John gave a very informative talk about his involvement with the Bond films, accompanied by some behind the scenes photographs of his work.
He stated that of all the scenes he had been involved in on the Bond movies his favourite was the pre-credits to Octopussy, as it had the widest range of visual effects and they all worked really well. He also talked about when they were filming on the Pinewood Backlot with a miniature model of the Bede/Acrostar Jet. When the plane was coming into land he and all of the other assembled crew had to run and grab a giant net - which they then used to catch the model aircraft before it could get out of control and cause any damage or injuries.
ABOVE: TWO OF JOHN RICHARDSON'S PHOTOGRAPHS SHOWING SOME OF THE MODELS USED WHEN FILMING THE WORLD IS NOT ENOUGH
After having a brief chat with John and getting him to sign my programme we then spent a couple of hours looking around the event before Lindy Hemming was due to give her talk.
It was also nice to bump into an old friend and fellow Bond fan. We had a little chat - and both agreed that we're all excited and can't wait to see what SPECTRE has in store for us eager fans.
As you'll see from the photo's below I was in what lazy tabloid news editors would call Double-O-Heaven! There was so much to take in that I was still spotting things that I'd not noticed before, hours after we'd arrived.
A lot of people online had mentioned that due to the limited size of the museum there were less vehicles on display than when the exhibition took place at the National Motor Museum in Beaulieu. Not having been to that I couldn't really comment, apart from to say that I think the exhibits on display are a good cross-section of the history of the Bond films and I liked the almost 'bunker' feel to the museum and it did give an extra spy vibe to the exhibition.
ABOVE: Lindy Hemming checking that Jinx's costume is in tip-top condition ready for her talk.
Not wanting to miss the start of the second talk, we went and sat down early. That and it was nice to have a break and a whilst waiting for the talk with Lindy Hemming, who would once again accompanied by Ian Freer.
Whilst waiting staff bought out 3 mannequins with costumes on them. The costumes were:
The Jinx Cat suit was found when Lindy was visiting Versace. It was a trial piece and wasn't going to be commercially available, but following its appearance in Die Another Day Versace did then put the outfit into production. Versace also produced the pink dress that Jinx wears whilst having a Martini. She also confirmed La Perla created both of Jinx's swimsuits that she sports in the film as well as the (in)famous blue swim-shorts that Daniel Craig sports in Casino Royale.
Xenia's cat suit from GoldenEye which was on display, was made in America because at the time the costume was made in Lycra which was only available in America.
When designing the jumpsuit that Gustav Graves wears when racing the Ice Dragster in Die Another Day she designed it to be a fire-retardant suit - such as those worn by Formula One drivers to protect them in the event of an accident. She had to be careful to ensure that it did not resemble a commercially available suit - as it could have been classed as copyright infringement.
Lindy appeared to be a modest lady, (referring to working on a small British film Four Weddings & A Funeral before being asked to clothe Bond), and although she was suffering from a bit of a sore throat she was keen to answer all the questions that the assembled audience had to ask.
On the topic of how Product Placement affects her work as a costume designer I was surprised to hear that Omega did not pay money for Bond to wear a Omega Seamaster watch in GoldenEye. Lindy explained that she did not want Bond to wear a Rolex as that brand was considered more for new money types such as Bankers. She did some research and found that a lot of people with backgrounds in the Navy and Armed Forces chose to wear Omega watches, (which made me smile as my father-in-law - who served in the army has an Omega watch), so she went with them. However she did elaborate that following on from GoldenEye, deals had been struck between Omega and EON Productions.
I was able to have a brief chat with Lindy and she also signed my programme. She thanked me for asking several questions as she said if people don't ask questions then these type of events can be dull. I was happy oblige Lindy - anytime!
PHOTOGRAPHS OF BOND IN MOTION AT THE LONDON FILM MUSEUM
Below is a collection of some of the photographs which I took at Bond In Motion. I would like to point out thought that these photo's in no way are meant to represent the exhibition in it's entirety. Looking back through the photo's there are many exhibits that I would like to have photograped but couldn't because the batteries on my camera ran out.
Although on the plus side that does give me a good excuse to go back to the museum when vehicles from SPECTRE are added later in the year.