Ken Adam

guess

it's nice seeing mr white and knowing that he kind of progresses throughout the entire craig run he's not in no time to die but obviously you know stuff his daughter is so it's kind of a nice way to kind of set up one of the recurring characters as well it's just very subtle and you're getting the feeling that this is more like what an operation like this would go down as you know i don't think it would be like specter where it's in a big, massive Ken Adams set and everyone's sitting in chairs where if they say the wrong thing, they're going to get electrified.

They're

just kind of meeting, laying out the plans.

And then the third thing is they clearly spend a lot of money.

On another big Ken Adam looking set.

But instead of a volcano crater that launches rockets or something, we get like, it's not even as good as the Dr.

No Nuclear Control Center.

Um, I agree on the, uh, I will say the, the whole thing with the solar power station, I've, That part of the movies never interested me, visually or story-wise.

It always just seemed a slight side note.

Who am I just actually looking? Was this actually a production designed by Ken Adam? No, it wasn't.

Yeah, it looks like somebody trying to look like Ken Adam.

I don't, I mean, I'm not a fan of any of the sets of this series because Harry Pottle hasn't come on yet.

And doesn't the world change once we get him? And Douglas James, who did the, who did Honours, Japanese inspired, you know, two years before Ken Adam did it for Bond.

Yeah.

But this is more, well, it's very sort of, Sir Terence Conran does, you know, Habitat for Great Britain.

Like, obviously all of that was matte work.

But De Laurentiis was like, "This is insane," because the Bond people have Ken Adam creating these, you know, $2 million volcano bases, and you're g- uh, basically getting the same quality stuff by doing forced perspective over a, a giant painting.

And he had just never seen anything like it, which it, I- you know, maybe says something about the imagination of producers [laughs] more than, more than you think it would.

But yeah, I, I just love that, like, they were getting the same quality, I think, that Ken Adam...

Except, you know, it's, wasn't physical.

They couldn't walk fully to the back of his cavern like you could in a volcano base, but you could...

I mean, I'm giving you a lot of facts.

There weren't many interviews I could find about those films with the production designers.

So now we're going to get into Ken Adams, production designer and art director Peter Morton.

to give you a little bit of backstory on Ken Adams, if you don't know.

He is the production designer famously for the James Bond sets of the 1960s and 70s.

Initially, he trained as an architect in London, but after the war, he entered the film industry initially as a draftsman.

He was knighted by Queen Elizabeth in 2003.

So...

You're going to replace it.

Yeah, well, look at Ken Adam.

Ken Adam could build a room that did not exist.

John Barry could make danger sound glamorous.

Peter Hunt could reshape time with editing.

The Bond sound.

That's the key point.

Bond style was not only Sean Connery, Ken Adams sets, clothes, cars, music.

Like, it's cool.

As I've talked about before, I mean, one person who's not here, who I think is another one of the MVPs of the Bond franchise is Ken Adam, the production designer on all the 60s films.

You know, he was a production designer on Dr. Strangelove.

He is the kind of look...

gun.

All the like the beautiful buttons with the text on them and the tape machines everywhere and things like that.

Like all those, that's Ken Adam.

So here, obviously, like there's none of that beautiful production design.