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[personal profile] laughing_tree


"I tend to think of the ‘Bond Girl’ thing as a movie thing, and also kind of dismissive and bullshit. There is usually a female presence in the books, of course, because that’s the nature of Bond himself. 'Eidolon' has more female characters than 'Vargr,' but I don’t conceive of them as ‘Bond Girls’ per se." -- Warren Ellis

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[personal profile] laughing_tree


"There’s clearly something wrong with the man. It’s one reason why the Bond of the book is so compelling, but it’s also the action of a man in love with death, inviting the potential of his own." -- Warren Ellis

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[personal profile] laughing_tree


"When Fleming was writing, the locales were difficult for ordinary people to reach, which added to their exoticism. These days, most of them can be reached by Easyjet or Ryanair from a regional airport. In VARGR, I can get the same exoticism from the atemporal strangeness of East Berlin, which still looks like a Communist district, and from places like remote Norwegian islands that are comparably difficult to reach. And Helsinki’s in there because I just wanted somewhere Brutalist and miserable, which chunks of Helsinki certainly are. I couldn’t bring myself to take Bond to Helsinki’s black metal karaoke bar." -- Warren Ellis

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'I'd like readers to come away saying, “wow, that was astonishingly bleak, and he worked really hard to get those three bad jokes in there, and why can’t I stop crying and do I have enough cash left to buy a bottle of bleach to drink.”' -- Warren Ellis

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[personal profile] laughing_tree


"I’m an idiot for deciding that writing a book about a guy who can karate-chop stuff to death required me to read several volumes of mind-crushing nihilistic philosophy. Karnak is completely mad, and espouses the most depressing ideas imaginable..." -- Warren Ellis

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[personal profile] laughing_tree


"The nature of Bond’s role in the world hasn’t really changed. Fleming was certainly responding, in several ways, to the end of the British Empire — sometimes in fantastical ways, sometimes, I think, in melancholy ways. Sometimes there was denial, sometimes acceptance. Which is entirely apt, because any secret intelligence service has to believe it serves a need. It was coming, in the 50s and 60s — Britain as a smaller thing in a bigger world. I can pursue that while remaining realistic about Britain’s lack of real importance on the world stage." -- Warren Ellis

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[personal profile] laughing_tree


'Somewhere in there is the notion of “hauntological fiction,” I think, which was a passing concern of a certain kind of artist here a few years back. But, also, look at what’s happening here — these are staples of a certain side of British popular fiction post-war, from Quatermass to Doctor Who to Doomwatch and The Sandbaggers and so on. It’s the British Weird. And also why living through the 1970s was so terrifying and scarring.' -- Warren Ellis

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[personal profile] laughing_tree


"I've always been more interested in the Bond of the books, fascinated by the ways in which Fleming showed the toll the job took on the man, and the man himself: a little dull, a lot cruel, not quite fitting in the world, living on a high wire." -- Warren Ellis

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[personal profile] laughing_tree


"He’s not an Inhuman. So, what happens is that every year or two Marvel pulls out one from the vaults and tells me I can take it to the lab and, you know, shoot lightning into it and stitch bits of hobo to it and whatever. It’s basically all they keep me around for. They showed me Karnak, and I did some reading, because, seriously, short guy in a weird helmet who can karate-chop anything to death, why the hell not. And he’s not an Inhuman." -- Warren Ellis

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[personal profile] laughing_tree


"The blunt instrument of British foreign policy. That’s the key to Bond. A walking weapon and a psychologist’s nightmare, living high on casino winnings and existing as the walking wounded, a mass of scars and losses, operating as the gun of a diminished and prideful country." -- Warren Ellis

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[personal profile] laughing_tree


"This stable of characters, having fallen into the public domain, have had a string of revivals over the years. But I found this odd group of properties strangely fascinating since I tripped over them doing research in the 90s. They had that patina of genuine pulp peculiarity that I associate with the superhero comics of that era." -- Warren Ellis

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[personal profile] laughing_tree


'He has all the vices that the film Bond is no longer allowed, and none of the gimmicks and showy quirks that defines the film Bond. The "real" Bond becomes more different the deeper you go into the details -- Fleming lived in the details, relished them.

'He's a bourbon drinker, for instance -- he doesn't drink the Vesper after "Casino Royale," for what I would think were absurdly obvious reasons. His dress sense is different. His reluctance, and his mental and physical scar tissue, is palpable on the page. He is just so much richer. And substantially more evil.'
-- Warren Ellis

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