Guy Hamilton

Nacimiento
16 de septiembre de 1922 · París, Francia
Fallecimiento
20 de abril de 2016 · Majorca, Balearic Islands, España (causa no comunicada)
Nombre de nacimiento
Mervyn Ian Guy Hamilton
Altura
1,83 m

He was originally hired to direct Superman (1978), when the film was scheduled to film in Italy. Marlon Brando refused to work in Italy and insisted the production be moved to England. For this and other reasons the production was moved to England, and Hamilton, a "tax exile" who could only be in England for 30 days a year, had to drop out and was replaced by Richard Donner.
After leaving the armed forces at the end of World War II, Hamilton entered the film industry in a very lowly capacity, but worked his way up very quickly. By the time he was in his mid-20s he was regarded as the foremost first assistant director in British films, working with the top British director of the time, Sir Carol Reed, and also John Huston. Hamilton became a director himself at the age of 30.
He was asked to direct Operación Trueno (1965), but he declined due to feeling worn out and "creatively drained" after the production of James Bond contra Goldfinger (1964).
He was asked to direct Agente 007 contra el Dr. No (1962), but declined.
Apart from directing four James Bond movies, he also directed a Harry Palmer movie: Funeral en Berlín (1966); a Miss Marple movie: El espejo roto (1980); and an Hercule Poirot movie: Muerte bajo el sol (1982).

[on directing several of the James Bond pictures] One of the rules with the Bond pictures is that you're not allowed to have a leading lady who can act--because we can't afford them . . . If ever we were to have a real leading lady, the next time around we'd have to find another one. And in no time at all we'd have to have, oh, Jane Fonda for $2 million and up.
[on directing Sean Connery in Diamantes para la eternidad (1971)] You don't tell Sean Connery how to play James Bond!
[on the success of the James Bond films] A lot of 007's appeal, let's face it, stems from his doings with the ladies. So, find the ladies and we've won half the battle.
The trick, I discovered, was not to be an assistant director, but to be the director's assistant. There are certain things the director is not interested in doing and you have to cover for those, while watching very carefully for the things he cares passionately about. In this way, you become very valuable to him, because you sense his needs.
You direct a Bond movie with an insane sense of power.