A Quote by Henry Golding

I've got so much respect for 'Bond.' It's such an iconic cultural behemoth. I love the whole story - Ian Fleming's stories are amazing. — © Henry Golding
I've got so much respect for 'Bond.' It's such an iconic cultural behemoth. I love the whole story - Ian Fleming's stories are amazing.
Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies - 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I'm working on the new Bond, I'm constantly going back to Fleming and the other movies - what are the bits and pieces, what are the resonances?
Ian Fleming and Norman Felton were friends. 'U.N.C.L.E.' was basically a tongue-in-cheek 'Bond.' It wasn't quite as serious and dramatic as 'Bond,' nor did we have the budget for that.
I don't think anyone has ever succeeded in putting Ian Fleming's James Bond up on the screen. The closest in my opinion is Pierce Brosnan.
I created Batman about 10 years before Ian Fleming created James Bond.
[On Ian Fleming:] The trouble with Ian is that he gets off with women because he can't get on with them.
Now, I'll tell you something that might interest you. Casino Royale was the first Bond book that Ian Fleming ever wrote. And he couldn't get anybody to touch it, to publish it - he couldn't do anything about it at all. Nobody wanted to know.
I can bore for England on the subject of James Bond. But I knew I couldn't do it frivolously; I had to take it very seriously, however much fun I was having. And I had to make myself, you know, absolutely steeped in Bond and in Fleming and that world.
Ian Fleming was my cousin, and he wanted me to play Dr. No, but by the time he got around to remembering to tell the producers, they'd already cast someone else. Spilt milk!
Sometimes people get fairly obscure just for the creative license of it, and that can backfire. Iconic stories are iconic for a reason, and there are so many incredible, iconic history stories that have not been told that we don't need to go too deep in the well yet.
Ian Fleming was my cousin, you know. He was in naval intelligence.
Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.
I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
I'd love to play a Bond villain. Yeah, I'd love to play a Bond villain. Everyone always says this to me; they always say, 'You've got to be a Bond villain', 'We're going to make you a Bond villain...' But they've never, ever approached me, I've never had a whiff of it. I think I'd love to play a Bond villain; I'd have great fun.
I hate Nassau and the Bahamas. It's one of those places I'd always wanted to visit since reading Ian Fleming but it was full of casinos with Americans in shorts.
The relationship with a producer and an artist is really special. It's got to be love and respect, amazing mutual respect for each other, because that's what makes a good record.
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