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Harry Saltzman (October 27 1915 - September 28 1994) was a theatre and film producer best known for his mega-gamble that led to him co-produce the James Bond film series with Albert R. Broccoli.

Biography

Saltzman was born in Sherbrooke, Quebec, Canada [1] but ran away from home at the age of 15, according to daughter Hilary Saltzman, as reported in the Ian Fleming Foundation documentary: "Harry Saltzman: Showman" and about the age of 17 had hooked up with a circus. It's neither clear how long he traveled with the circus (daughter guesses several years), but it's definite that by 1939 he was in the Canadian Army and in France.

After a mysterious assignment (apparently Saltzman got some "up close and personal" first hand experience with clandestine activities working in some capacity as an "intelligence field officer") during WW-II after the war Saltzman ended up in Paris, France. There he met the war refugee and eventually his Romanian-born wife Jaquie while operating as a talent scout or procurer for European productions on stage, television and in film.

Whatever the exact nature of his business, he accumulated a huge number of entertainment business contacts and became "a contact" when someone had a talent or production problem. Despite such interpersonal successes, those were lean years for the Saltzman family and though he gradually began to produce stage plays with some success, the family was quite poor according to son Steven. Saltzman moved the family of four to Britain in the mid-fifties where he started Woodfall productions, again produced theater, and then entered the film business producing The Iron Petticoat (1956) which was a theatre adaptation to film. According to the narrative in the documentary: "The landmark film introduces a new genre, the kitchen sink movie'," and thereafter other critically acclaimed social dramas such as 1959's Look Back in Anger and 1960's Saturday Night and Sunday Morning, but began casting around for something which would be more profitable than these modestly successful but high quality films.

• "My father, I think, was an incredible visionary, and creative person."

• "He always felt some of he best scripts were to be found in theatre, and that they were seen by only a few people, and that a way to let more people experience the medium that he felt was under viewed and under appreciated was to go into films."

• "He always felt, the films he made during Woodfall were seminal, they gave him the direction [for the rest of his life] and they were films that brought him tremendous joy that he'd made them."

In early 1961, excited by reading the James Bond Novel Goldfinger, he made a bid to land film rights to the character. Partnering with Albert R. Broccoli in 1962 Saltzman co-founded Danjaq, LLC, a holding company responsible for the copyright and trademarks of James Bond on screen, the parent company of EON Productions, which they also set up as the film production company producing the Bond films. The moniker Danjaq is a combination of Broccoli's and Saltzman's wives' first names, Dana and Jaquie.

In 1975 after financial difficulties due to Bond-unrelated ventures, Saltzman sold his 50% stake in Danjaq to United Artists Corporation. Concurrently, his beloved wife Jaquie was diagnosed with terminal cancer and according to interviews given by his daughter Hilary and son Steven in the documentary "Harry Saltzman SHOWMAN" his health also declined and he became depressed, sold the English country mansion where he loved to hold production meetings in the rooftop pool, and moved to Florida. As related by friend Roger Moore, Jaquie died while The Spy Who Loved Me (film) was shooting, which places her passing in late 1976 or early 1977. Saltzman all-but-retired from the movie business thereafter until he undertook to produce Nijinsky[2] in 1980 and the 1988 British-Italian-Yugoslavian co-production Time of the Gypsies.

The Bond property

Something of a gambler, Saltzman was at best only modestly successful as a businessman and producer, but had a talent for thinking both big and outside the box in very creative ways. After best selling writer Ian Fleming had been told his novels would never make good films in 1957 (Ironically by the ex-partner of his soon to be future partner Oscar winner Irving Allen [3]) Saltzman bet large in a moment of enthusiasm in early 1961 and paid $50,000.00 (high for the times) for a mere six month option of the film rights to the Bond character. Always confident, Saltzman was certain he could put together a deal within the deadline. As spring became summer, he'd been unable to obtain financing, an agreement with production company, or a distributor for the proposed project as he was essentially an outsider mostly unknown in film circles despite his modest success as an independent producer.

Competition from the money side

Meanwhile, David Picker, then a vice-president (and eventual president) of United Artists also got interested in the film rights about the same time Salzman made the option deal with Flemming after he was (also) introduced to the novel Goldfinger by his cousin Nancy's husband, and soon began strategic studies on which novel might best be adapted first and other such preparatory work anticipating negotiations for the rights. At a luncheon soon after, he was told they weren't available by a credible source, but didn't know of Salzman's pending deadline, and assumed the long term rights were the topic and so suspended United Artists work. That these studies and events occurred is documented in an internal memo dated 5/5//61 discussing Thunderball as a potential project and confirmed in interviews with Picker in the documentary "The Making of Dr. No".

Competition from veteran film insider

Working from in Great Britain in 1957, American producer Albert Broccoli, widely regarded as one of the most successful independent producers in the industry, had decided the novels would make an excellent film project series. From New York he soon arranged an early 1958 meeting between partner Allen and Ian Fleming in London while nursing his ailing second wife through a terminal illness. Only, Allen—who had the big Hollywood name and was controlling partner in Warwick films, in the event snubbed Fleming in their meeting at the prestigious Les Ambassadors Club in London when Allen proclaimed (according to interviews on various documentaries on Bond special edition DVDs) that Fleming's novels weren't "good enough for television," [4] all unbeknownst to Broccoli who knew only the partnership hadn't gotten the rights.

Random factors align

Ahead of the times, in 1960, Warwick Films undertook to produce and self-distribute the self-funded high risk biographical-drama Oscar Wilde (film) which dealt with the topic of homosexuality in depth and without prejudice, and hence was unable to advertise in the United States because of censorship which thereby doomed the partners to take a loss. This began a chain of events leading to dissolution of the company in bankruptcy in 1961 and the increased tensions between the two partners, already in disagreement over James Bond lead to a sundering of their partnership as well and freed Broccoli to revisit his decision that the Bond novels would make a good film series, only now to be told by the publishers the rights were unavailable.

In an ironic twist worthy of fiction, screenwriter Wolf Mankowitz while having a working dinner in New York on another script with Broccoli ended up in a discussion over his disappointment about Oscar Wilde, Warwick, et al. and his interest in the Bond rights. Mankowitz knew Saltzman casually from Broadway productions the two had been involved with and knew Saltzman held the rights to Bond, so he immediately offered to introduce the two men, and arranged a meeting between the two the very next morning. In a double historic irony, Mankowitz put the two together and was hired to work on the script for what became film history— Doctor No, but alarmed by early rushes demanded to have his name withdrawn from the script. In addition, his meeting with Broccoli had essentially been about scrapping the Arabian Nights project he'd been writing for Broccoli which is how what Broccoli wanted to do and Bond came into the discussion at all.

Saltzman, always an enthusiast, refused to sell any of the film rights but instead proposed the two form a partnership, joining the novice producer with the well connected and almost-always successful industry insider. Broccoli, wanting to do Bond very much, now that Allen was out of the picture accepted. In that manner, he joined forces with "Cubby" Broccoli in 1962 to create the holding company Danjaq, LLC and production company EON Productions and almost immediately began recruiting talent known to Broccoli from Warwick Productions such as production designer Ken Adams, teamed writers Richard Maibaum and Mankowitz, etc. immediately launching the project and soon the nascent production team was considering the best novel to adapt and introduce the character, several months after Perkins. With the rights to Casino Royale (novel) having gone to an early television adaptation they began tossing ideas around. Within a week the two were asking for a meeting with United Artists and with a handshake and a short meeting, had received a million dollars in senior financing, as recounted by Saltzman remained Broccoli's partner up to the ninth film in the series, the 1974's The Man with the Golden Gun. <--- had decided that for their first film in the James Bond series, Dr. No --->

Other notable productions include The IPCRESS File (1965), The Battle of Britain 1969 and Call Me Bwana (1963) starring Bob Hope. Call Me Bwana is the only film to be produced by EON Productions outside of the James Bond franchise.

Saltzman hated both the theme songs for Diamonds Are Forever and Goldfinger. The former was used because John Barry managed to convince "Cubby" Broccoli to use it and the latter because, although Saltzman didn't want it, he didn't have time to find a replacement. Both songs have become the standards by which all Bond themes are judged. Saltzman also came close to rejecting Paul McCartney's submission for Live and Let Die. McCartney asked producer George Martin to approach the producers about the song. Saltzman surprised Martin by asking who they could get to sing it, suggesting only black female vocalists. Martin pointed out that if he did not take McCartney as the singer he did not get the song.^[1]. Saltzman compromised by having McCartney do the title version and B.J. Arnau do a "soul" version in a "Fillet of Soul" nightclub.

Harry Saltzman is survived by 2 children Hilary and Steven Saltzman and 4 grandchildren, Alexandre and Jacqueline de La Bouillerie and Hannah and Jacob Saltzman.

List of Saltzman's productions

Saltzman had eclectic tastes, and a love for the theatre and bringing stageplays to the big screen. Many of his non-Bond films received critical acclaim, but were financially less successful than many.

• The Iron Petticoat, 1956
• Look Back in Anger, 1958
• Saturday Night and Sunday Morning, 1960
• The Entertainer, 1960
• Dr. No (film), 1962
• From Russia with Love (film), 1963
• Call me Bwana, 1963
• Goldfinger (film), 1964
• Thunderball (film), 1965 (uncredited)
• And There Came a Man, 1965
• The Ipcress File, 1965
• Funeral in Berlin, 1966
• Billion Dollar Brain, 1967
• You Only Live Twice (film), 1967
• Play Dirty, 1968
• Battle of Britain, 1969
• On Her Majesty's Secret Service, 1969
• Tomorrow, 1970
• Diamonds Are Forever, 1971
• Days of Fury, 1973
• Live and Let Die, 1973
• The Man with the Golden Gun, 1974
• Nijinsky, 1979
• Time of the Gypsies, 1989

References

External links

• Harry Saltzman at the Internet Movie Database

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