Grace Beverly Jones (* Mai in Spanish Town) ist eine jamaikanische Sängerin. James Bond sucht die Leiche eines ermordeten Kollegen. Dieser hatte einen Mikrochip bei sich, der nicht in falsche Hände geraten sollte. Seine Spur führt ihn zu dem Großindustriellen Max Zorin. Bond erlangt Zugang zu einer Feier auf seinem Anwesen. Die Jährige spielte bereits in "James Bond - Im Angesicht des Todes" von die Femme Fatale, der damals Roger Moore als.
James Bond 007 – Im Angesicht des TodesDie weiblichen Hauptrollen sind Stacey Sutton, gespielt von Tanya Roberts, und May Day, gespielt von Grace Jones. Als Sir Godfrey Tibbett spielte zudem. Mit diesem Actionthriller setzt Roger Moore zum letzten Mal zur Rettung der Welt an: Seine Gegner sind Christopher Walken und Grace Jones. Agent muss. Superstar Grace Jones steigt bei "Bond 25" aus. von teleschau. Der Film der James-Bond-Reihe sollte eigentlich ein großes Highlight werden. Doch der.
Grace Jones James Bond RELATED ARTICLES VideoGrace Jones has a surprise for James Bond
Die Grundlage Grace Jones James Bond diese Geschichte Grace Jones James Bond ein tatschliches Funktionsdesign. - Mehr Hits aus 1985Das inflationsbereinigte Einspielergebnis wird weltweit mit Mio. James Bond sucht die Leiche eines ermordeten Kollegen. Dieser hatte einen Mikrochip bei sich, der nicht in falsche Hände geraten sollte. Seine Spur führt ihn zu dem Großindustriellen Max Zorin. Bond erlangt Zugang zu einer Feier auf seinem Anwesen. Die weiblichen Hauptrollen sind Stacey Sutton, gespielt von Tanya Roberts, und May Day, gespielt von Grace Jones. Als Sir Godfrey Tibbett spielte zudem. Grace Beverly Jones (* Mai in Spanish Town) ist eine jamaikanische Sängerin. Mit diesem Actionthriller setzt Roger Moore zum letzten Mal zur Rettung der Welt an: Seine Gegner sind Christopher Walken und Grace Jones. Agent muss. Umwelt-Experten verraten Witz Recycling überraschende Öko-Tricks. Daniel Craig und Rachel Weisz: Sie bedanken sich Prinzessinnen den Corona-Helfern Bond gewinnt Kenntnis von seltsamen Vorgängen in einer von Zorins Pumpstationen und sucht diese auf.
Dolph, she says, 'could see I was getting high a little much', particularly when - being in a bad mood - 'I was setting fire to Dolph's trousers'.
He moved into a hotel, so Grace went after him with a gun. Grace sums herself up very well: 'I am rooted and restless.
I am at peace, but I want to interrupt. I love the quiet, but I want to shatter the silence. It's time to go, but I don't want to go.
What a handful. In her contracts - an example is printed as an appendix - along with the first-class travel, presidential suites at five-star hotels and other luxuries, Grace stipulates that a dozen fresh Colchester oysters are to be placed in her dressing room, as well as a case of Louis Roederer Cristal Champagne.
The oysters must be left unopened, however. One company, which found itself unable to come up with the wodges of cash Grace demands before she'll put in a personal appearance, tried to bribe her with a baby: 'We have an employee who has a baby she is prepared to offer as security You can keep the baby until we bring you the money.
Grace couldn't believe her own ears: 'I didn't take the baby. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline.
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The Lefty O'Doul Bridge was featured in the fire engine chase scene. The horse racing scenes were shot at Ascot Racecourse.
Production of the film began on 23 June in Iceland, where the second unit filmed the pre-title sequence. The stage was rebuilt, and reopened in January  renamed as Albert R.
Broccoli's Stage for filming of A View to a Kill. Work had continued on other stages at Pinewood when Roger Moore rejoined the main unit there on 1 August The crew then departed for shooting the horse-racing scenes at Royal Ascot Racecourse.
The scene in which Bond and Sutton enter the mineshaft was then filmed in a waterlogged quarry near Staines-upon-Thames and the Amberley Chalk Pits Museum in West Sussex.
On 6 October , the fourth unit, headed by special effects supervisor John Richardson, began its work on the climactic fight sequence.
At first, only a few plates constructed to resemble the Golden Gate Bridge were used. Later that night, shooting of the burning San Francisco City Hall commenced.
The first actual scenes atop the bridge were filmed on 7 October In Paris it was planned that two stunt parachutists , B.
Worth and Don Caldvedt, would undertake two jumps from a clearly visible platform that extended from a top edge of the Eiffel Tower. However, sufficient footage was obtained from Worth's jump, so Caldvedt was told he would not be performing his own descent.
Caldvedt, unhappy at not being able to perform the jump, parachuted off the tower without authorisation from the City of Paris. He was subsequently sacked by the production team for jeopardising the continuation of filming in the city.
Airship Industries managed a major marketing coup with the inclusion of its Skyship series blimp in the film. At the time Airship Industries was producing a fleet of blimps which were recognisable over many capitals of the world offering tours, or advertising sponsorship deals.
As all Bond films have included the most current technology, this included the lighter than air interest. At that time, it had "Welcome" painted across the side of the gasbag, but was replaced by "Zorin Industries" for the film.
During the summer of , the blimp was used to advertise Fujifilm. In real life, inflating the airship would take up to 24 hours, but during the film it was shown to take two minutes.
Barry's composition from On Her Majesty's Secret Service was modified for use in the songs "Snow Job", "He's Dangerous" and "Golden Gate Fight" of A View to a Kill.
Duran Duran was chosen to do the song after bassist John Taylor , a lifelong Bond fan, approached producer Albert Broccoli at a party, and somewhat drunkenly asked "When are you going to get someone decent to do one of your theme songs?
During the opening sequence, a cover version of the Beach Boys song " California Girls ", performed by tribute band Gidea Park with Adrian Baker , is used during a chase in which Bond snowboards; it has been suggested that this sequence helped initiate interest in snowboarding.
This was the first Bond film with a premiere outside the UK, opening on 22 May at San Francisco's Palace of Fine Arts.
One of the most common criticisms was that Roger Moore was 57 at the time of filming — and had visibly aged in the two years that had passed since Octopussy.
The Washington Post ' s critic said "Moore isn't just long in the tooth—he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie.
He's not believable anymore in the action sequences, even less so in the romantic scenes—it's like watching women fall all over Gabby Hayes.
I'm too old. Roger's too old, too! Moore also said that, at the time, A View to a Kill was his least favourite Bond film, and mentioned that he was mortified to find out that he was older than his female co-star's mother.
He was quoted as saying "I was horrified on the last Bond I did. Whole slews of sequences where Christopher Walken was machine-gunning hundreds of people.
I said 'That wasn't Bond, those weren't Bond films. You didn't dwell on the blood and the brains spewing all over the place". Pauline Kael of The New Yorker said "The James Bond series has had its bummers, but nothing before in the class of A View to a Kill.
You go to a Bond picture expecting some style or, at least, some flash, some lift; you don't expect the dumb police-car crashes you get here.
You do see some ingenious daredevil feats, but they're crowded together and, the way they're set up, they don't give you the irresponsible, giddy tingle you're hoping for.
I don't think I've ever seen another movie in which race horses were mistreated and the director failed to work up any indignation. If Glen has any emotions about what he puts on the screen, he keeps them to himself.
Lawrence O'Toole of Maclean's believed it was one of the series' best entries. Lavish with their budgets, the producers also bring a great deal of craft, wit and a sense of fun to the films.
Agent is like an old friend who an audience meets for drinks every two years or so; he regales them with tall tales, winking all the time.
The 14th and newest Bond epic, A View to a Kill , is an especially satisfying encounter. Opening with a breathtaking ski chase in Siberia, A View to a Kill is the fastest Bond picture yet.
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