Design is about doing : Idea research

1. Dr. No (1962-Sean Connery)
2. From Russia With Love (1963-Sean Connery)
3. Goldfinger (1964-Sean Connery)
4. Thunderball (1965-Sean Connery)
5. You Only Live Twice (1967-Sean Connery)
6. On Her Majesty's Secret Service (1969-George Lazenby)
7. Diamonds Are Forever (1971-Sean Connery)
8. Live and Let Die (1973-Roger Moore)
9. The Man with the Golden Gun (1974-Roger Moore)
10. The Spy Who Loved Me (1977-Roger Moore)
11. Moonraker (1979-Roger Moore)
12. For Your Eyes Only (1981-Roger Moore)
13. Octopussy (1983-Roger Moore)
14. A View to a Kill (1985-Roger Moore)
15. The Living Daylights (1987-Timothy Dalton)
16. Licence to Kill (1989-Timothy Dalton)
17. GoldenEye (1995-Pierce Brosnan)
18. Tomorrow Never Dies (1997-Pierce Brosnan)
19. The World is Not Enough (1999-Pierce Brosnan)
20. Die Another Day (2002-Pierce Brosnan)
21. Casino Royale (2006-Daniel Craig)
22. Quantum of Solace (2008-Daniel Craig)
23. Skyfall (November 2012-Daniel Craig)

http://www.klast.net/bond/filmlist.html

with the james bond idea for the poster i looked at the film titles to see which ones could be altered to rain

Thunderball would be quite appropriate without change

Goldfinger - Goldrain

You only live twice - play in the rain

Rain Are Forever

Live and Let Rain

The man with the golden umbrella

Licence to Rain

Goldendrops

Goldenrain

Skyfall - very appropriate and current as its coming out this year

Poster:

Instead of 007 i could use the average rain fall for uk

Another film route could be using the film Rainman with a statement like 'Rainman wishes he went to britian'

Well known British films 


connection to rain:

It Always Rains on Sunday (1947)

Dir Robert Hamer (Googie Withers, Edward Chapman, John McCallum)

Stop! Hamer time...

You’ll find Robert Hamer’s ‘Kind Hearts and Coronets’, also from Ealing Studios, higher up our list, but two years earlier he made this lesser-known gem which manages to pull off the trick of being both a credible snapshot of post-war East End life and an effective noir thriller as it unfolds over one Sunday in 1947. The plot – a Bethnal Green mother and housewife (Googie Withers) hides an on-the-run con and ex-lover (John McCallum) in her busy home – allows us intimate access to a working-class home. We witness its routines, rituals and relationships, while at the same time we’re hooked in by the suspense of the crime element of the story and the threat of a dangerous romance in contrast to the drabness of lives defined by rationing and duties. There’s the odd over-fruity line or performance, but a stunning final night-time chase sequence in a railway depot more than compensates.DC

http://www.timeout.com/london/feature/855/100-best-british-films-the-list/7#bestOf-37

A clockwork rain ?

A Clockwork Orange (1971)

Dir Stanley Kubrick (Malcolm McDowell, Patrick Magee, Michael Bates)

Viddy well, little brother

Swap Beethoven for heroin, and Stanley Kubrick’s scandalous 1971 Moog-mare based on Anthony Burgess’s novel might work as a forerunner to ‘Trainspotting’. It presents the wayward travails of Little Alex (Malcolm McDowell) a tearaway who likes nothing more than a bit of the old ultra violence. But after a bungled break-in where he is abandoned by his band of cock-nosed droogs, he is packed off to a hospital to be ‘cured’. The style of filmmaking is at once clinically precise and imaginatively loose. This is down to the multitude of tricks that Kubrick hoists in (slo-mo, fast-forward, cartoon inserts, back projection) to encapsulate the total autonomy these characters have and why they see their behaviour as thrilling. The violence is plentiful and invites a mixture of revulsion and amusement, not least because it is usually overlaid by Walter Carlos’s mad reinterpretations of classical standards. Does it stand up psychologically? Probably not. But as an example of a work in which the filmmaking style matches the tone of the material, it’s peerless. DJ

http://www.timeout.com/london/feature/855/100-best-british-films-the-list/7#bestOf-34

Great Expectations (1946)

Dir David Lean (John Mills, Valerie Hobson, Martita Hunt)

The lady’s not for turning

The chocolate-box social politics and borderline anti-semitism of David Lean’s other Dickens adaptation ‘Oliver Twist’ hasn’t worn so well in the new millennium, but there are no such drawbacks with ‘Great Expectations’. This is a film so deeply ingrained in the national psyche and so widely referenced in popular culture that seeing it for the first time feels like a nostalgic experience, albeit a slightly discomfiting one: for all the film’s rosy-cheeked, aspirational cheer, the dark undercurrents of the novel are never ignored. The way Lean weaves elements of Universal horror and film noir into his depiction of nineteenth-century London is breathtaking, and his treatment of Miss Havisham as a giant time-ravaged spider-queen wrapped in a crumbling web of dust and rotting lace finds unexpected echoes in everything from ‘Psycho’ to ‘Aliens’. TH

http://www.timeout.com/london/feature/855/100-best-british-films-the-list/8#bestOf-25

Thought of well known british music as well:

The beatles - song titles  

all together now

any time at all

come together

here there and everywhere

let it be

rain

september in the rain

watching rainbows

with a little help from my friends