canon : A word to describe something that is true to the original story; Things considered ‘canon’ are basically considered ‘true’ (in the story) [Urban Dictionary].
In 2002, James Bond Movie Posters by Tony Nourmand was published [1].
It’s hard to say if his book ever answered the title question posed above, to any extent, for the EON Productions entries. But the 200-plus pages of referenced images have proven most helpful to finding the answer here.
As the story goes— “Danjaq” was setup by Albert R Broccoli and Harry Saltzman in 1961, an amalgam of their wives, respectively named Dana and Jacqueline [1].
According to Mark Dent of The Hustle, the producers “structured their partnership in a way that maximized profits and, controversially, limited their British tax burden [2].
- Their Britain-based production company, Eon (short for ‘everything or nothing’), made the films.
- Another business, Danjaq, acted as the holding company for the Bond rights. Danjaq was first incorporated in Switzerland and later in Delaware. Most profits flowed to Danjaq.
Between that pivotal first year and 1975, nine of the first ten James Bond motion pictures were produced by Messrs Broccoli and Saltzman. Seventeen came after, Cubby Broccoli having been involved with seven or eight (depending on how you count the 1995 GoldenEye).
As preamble, consider this from James Bond film historians John Cork and Bruce Scivally: “In 1977 and ’78, it was hard to quantify the tremendous impact of Star Wars [1] and Close Encounters [2] on popular culture, which easily equalled Bond’s influence in the mid-60s … [3].
The public wanted outer-space adventure, and [Albert R] Broccoli felt that in Moonraker – Ian Fleming’s 1955 novel … he had a story and a title that were ripe for the times.
Several years after “Quantum of Solace” was first published as a short story in the May 1959 issue of Cosmopolitan, it would appear that Ian Fleming had in mind to brand the name even more broadly.
… I have a basic alternation to propose in our tax laws, which will call, so that it looks properly portentous on the statute books, the Quantum of Solace Clause. Briefly, this will allow tax relief to those who, as judged by an independent tribunal, have given the maximum amount of pleasure to their fellow citizens. Most beneficiaries will, of course, come from the creative arts—acting, writing, painting, music, etc.—but they will also come from sports, politics and medicine. Such a clause would, I believe, have the blessing of the general public, it would greatly encourage the arts and it would serve to keep creative ability within our shores (copy to Inland Revenue for action!).
Almost a decade ago, Brand Strategy ran a piece by Phil James lamenting the diminishing impact of traditional media buys in the wake of emerging new channels.
Ironically, “James Bond” served as his illustration of how “media-within-media” could be successfully leveraged, in his article titled, “How to sell sports sponsorship,” February 18, 2000.
Product placement is a media-within-media spend. James Bond driving a BMW gives more airtime — and exciting airtime at that — to the product than a conventional ad.
Perhaps some element of the vocal opposition to product placement in James Bond films is based in a fear that it subjects audiences to subconscious manipulation.
In the United Kingdom, Mail Online writer Richard Simpson left little to the imagination in regard to his stance on product placement in entertainment media.
This, through a piece titled, “Product placement to be allowed on British television in lifeline to struggling broadcasters.”
In the U.S. the tactic is so blatant that brands can be as prominant as the stars themselves….
Critics … argue it will destroy the trust of viewers.