GOLDENEYE 20 - THE CREW

Beyond the onscreen talent of the main cast, the greatness of the 17th James Bond film GOLDENEYE has to be credited to the film's crew, who made a splendid team building work twenty years ago to bring James Bond back to the screen 20 years ago.

Known for his work on the series THE PROFESSIONALS and movies like THE SEX THIEF, CRIMINAL LAW and ESCAPE FROM ABLOSOM, New Zealand-born director Martin Campbell took over John Glen's chair as GOLDENEYE's director.

Providing a perfect balance between action, drama and suspense, Campbell pulled out a great show. He was so successful that producers Michael G Wilson and Barbara Broccoli hired him back in 2006 for Daniel Craig's debut as James Bond in CASINO ROYALE, based on Ian Fleming's novel.

Campbell went on directing many popular and successful films including THE MASK OF ZORRO, VERTICAL LIMIT, GREEN LANTERN and EDGE OF DARKNESS, based on the 1985 TV series he also directed.

Many of Campbell's workers were also hired for GOLDENEYE, particlarily Director of Photography Phil Meheux BSC, who brought a sharp and dramatic cinematography for Pierce Brosnan's first film as James Bond. Editor Terry Rawlings, known for BLADE RUNNER, provided modern and effective editing to both the action and romantic sequences.

GOLDENEYE was also the debut of  Michael G Wilson & Barbara Broccoli as producers of the Bond franchise. Even when Wilson has been co-producing the films since 1985's A VIEW TO A KILL, it was Barbara Broccoli's first time in this duty. Both of them are still the producers of the franchise.

Old Bond alumni Peter Lamont returned once more for the production design, excelling himself in turning the Leavesden Studios into a Soviet nerve gas facility or an isolated memorial statue park in the new world order Russia.

Another returning old member of the Bond family was SFX designer Derek Meddings. He sadly passed away shortly after completing his job on the film, which was dedicated to his memory.

Welsh-born costume designer Lindy Hemming was hired to dress the new Bond and the cast, as well as Daniel Kleinman, who gave the classic main title sequence and opening gunbarrel shot a fresh and digital look. Both would have a long run in the franchise, with Hemming designing the costumes until 2006's CASINO ROYALE and Kleinman still in charge of the main titles (his only exception was 2008's QUANTUM OF SOLACE).

The film also had an excellent team of scribes: CLIFFHANGER's Michael France ideated a story that would pit 007 against a fellow agent, with the new technologies and the end of the Cold War in the background, while Jeffrey Caine and Bruce Feirstein readapted it to the mid 1990s and fitted it for Brosnan's Bond maintaining the essence of France's draft.

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