issue 65, volume 16, july 2022

It was back in 1995 with Pierce Brosnan’s debut outing in GoldenEye that CGI was first used in the James Bond series for a few select shots, most notably the gunbarrel. 25 years on and almost every frame in No Time To Die was enhanced in some way by digital effects, from removing stuntman wires to adding vehicles that did not exist. Yet we would challenge anyone to watch the film and pick out the ‘unreal’ elements in the film.

In this issue we talk to the teams that created these digital illusions – many of which will surprise you. Who knows which direction the next Bond film will go, whenever that will be, either further in to virtual worlds or back to basics?

In This Issue

• The Map Is Not The Territory Creating QDAR and Heracles
• The Colour Of Magic ILM’s invisible art that enhanced No Time To Die
• Art In Every Frame Adding and subtracting from images by Framestore
• Bond And Mortality 007’s musings on death by David Leigh
• Back To Fleming Edward Biddulph explores Bond 25’s literary influences
• Beyond Bond Len Deighton’s anti-hero, Harry Palmer, returned to the small screen

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