As a young man, Steven Spielberg repeatedly tried to direct a James Bond film. All his attempts failed. It seems that the franchise's longtime producer, Albert "Cubby" Broccoli, never really wanted him. Invited on the podcast The Rest Is Entertainment to mark the release of Disclosure Day, the director explained that he first approached Broccoli after the immense box-office success of Jaws.
He recounts: “I contacted Cubby after the triumph of Jaws. I had always wanted to direct a James Bond film ever since the day I saw Dr. No, so I called him and offered my services. I told him that if he needed a director, I would love to make one. And he said no.” False note between Albert “Cubby” Broccoli and Steven Spielberg. A few years later, Broccoli called Spielberg again after the release of Close Encounters of the Third Kind. He wanted to use the film's famous five-note musical motif for a scene in Moonraker, released in 1979. Spielberg then set a condition: “I'll make you a deal. I'll allow you to use the five notes if you let me direct a James Bond film.” And he said no. But I gave him the five notes anyway. So they systematically rejected me, at least Broccoli did. He never explained why he didn't want to let me into the Bond family.” Spielberg, a grudge against the father of Bond; Spielberg also recounts confiding this story of rejection to George Lucas in 1977, when the two men were together in Hawaii, awaiting the release of the first Star Wars. From this confidence came a decisive offer. “George told me: ‘I have something better than Bond. It’s called Indiana Smith.’ That was the title at the time. He told me the premise of the Indiana Jones saga, and that’s how I landed the job. So, if I were asked today to direct a James Bond film, my answer would be: ‘You can’t afford me.’”
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Suffice it to say that this stubborn refusal and lack of explanation will remain a mystery. A mystery reminiscent of the equally persistent impossibility of Christopher Nolan, also a great admirer of 007, ever taking the reins of the franchise. In both cases, one can imagine that Spielberg and Nolan would have demanded artistic freedom and a Final Cut that the Broccoli clan has always denied its directors. Perhaps this explains that. In the meantime, symbolically castrating him, wallowing in wok-ism, and ultimately killing James Bond, apparently doesn't pose a problem. Sometimes, the ways of cinema are truly impenetrable.