Question about McClory

Did Kevin McClory have any actual input on Thunderball, or did he just sit at home while EON produced the entire thing and slapped his name on it?  Did he do any work or was it a complete gimme?

Edit: OK, he had a cameo, but other than that.

I think he had a lot to do with picking locations, so he did have some producer-type duties, sort of like how some UPMs also get producer credits. Didn't they actually shoot at one of his properties? Either that or or they used his property for NSNA -- for which he pretty much ceded control to Schwartzman, who I guess was the only body around who could out-lawyer Eon. I lucked into NSNA on blu-ray awhile back, think maybe I'll try watching it this weekend before I ebay it along with GREAT TRAIN ROBBERY.

Damn shame his robo-shark idea never made it in.

Have wondered if anyone involved with Austin Powers knew of that idea, hence Dr Evil's 'Sharks with frickin' lasers!' line.

I really hate Never Say Never Again

just total rubbish beginning to end

Production values worthy of some made-for-TV schlock.

Crappy porno score.

Amazing to think it had the same director as Empire Strikes Back.

Connery had some alright moments... OK, really just the "but my martini's still dry" line.

CJB wrote:

Amazing to think it had the same director as Empire Strikes Back.

Behind the camera it was probably seamless as ESB was also an hostile, out-of-control production whose expenses spiraled as producers fought and lead actors became frustrated.

I’ve never been a Kershner guy. I don’t think as highly of ESB as most. But that said, I like to watch NSNA every couple years. Used to be a far weirder movie before the Craig era.

Locations and Bahamas liaison but outside of that I've wondered what McClory did on the set of TB. The only indicators I could find were in Battle For Bond and some other places that indicate he setup camp with Young during shooting away from Cubby and Harry and that there were sort of guarded factions with Connery gravitating toward Young.


NSNA was a messy insane production. If it weren't for Connery and the assistant director it wouldn't likely have been finished. I like Kerhner but there is a reason why ESB is really his highlight and why he so often went overschedule and budget. He liked to tinker with scripts, get many rewrites and take ages looking for better things...on set. This is what seems to have set NSNA on its downward spiral as he had the original Semple script thrown out bringing in new writers. I'd love to read the original Semple script. These factors combined with the film's producer not being a producer at all and usually being gone meant Connery saw the film literally teetering on the edge on a daily basis and had to step in. He apparently hated Schwartzman. None of this was helped by EON trying to get the film cancelled constantly, Kim Basinger being inexperienced and many other factors.

The reason ESB came out perfectly was Gary Kurtz in my honest opinion. He was a great producer who actively cared about the soul of the film and took the heat when the film ran over forcing Lucas to give up some control for outside financing. This soured their relationship and Kurtz left on Jedi when it all started taking a turn toward a merchandising cash grab. On NSNA Kershner really had no active producer at all.

Interesting. Can't say I knew much about what happened behind the scenes of ESB or NSNA for that matter.

To be fair, I think if NSNA had Barry or a Barry-level score it could've been a mediocre film rather than a terrible one. A good soundtrack is like a girdle for a beer belly.

Agree on the score comments CJB. The title song is passable but a Bond film, albeit an unofficial one, without a Bond theme or a dynamic theme at best, is...well, this.