Production
Shortly after The Living Daylights was released, producer Albert R. Broccoli and writers Michael G. Wilson and Richard Maibaum started discussing its successor. The film would retain a realistic style, as well as showing the "darker edge" of the Bond character. For the primary location, the producers wanted a place where the series had not yet visited. While China was visited after an invitation by its government, the idea fell through partly because the 1987 film The Last Emperor had removed some of the novelty from filming in China. By this stage the writers had already talked about a chase sequence along the Great Wall, as well as a fight scene amongst the Terracotta Army. Wilson also wrote two plot outlines about a drugs lord in the Golden Triangle before the plans fell through. The writers eventually decided on a setting in a tropical country while Broccoli negotiated to film in Mexico, at the Estudios Churubusco in Mexico City. In 1985, the Films Act was passed, removing the Eady Levy, resulting in foreign artists being taxed more heavily. The associated rising costs to Eon Productions meant no part of Licence to Kill was filmed in the UK, the first Bond film not to do so. Pinewood Studios, used in every Bond film that far, housed only the post-production and sound re-recording.
Read more about this topic: Licence To Kill
Famous quotes containing the word production:
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)