Matt Carter’s first film as a 22 year old director was a gay James Bond film. His soon-to-be-released feature is a love story between two rugby players, based on his personal experiences. I spoke with him about what draws him to stories set in stereotypically hypermasculine, straight male contexts and how gay cinema needs to move beyond telling coming out tales.

The scenes where Bond sneaks around places - hotels, enemy bases, even his boss’s house - are highlights of the series. What is about them that makes them tick - and our hearts race? Do we experience these episodes differently if we have reasons to feel fearful in our own lives? How much is the music responsible for their effectiveness? And what are Licence To Queer readers’ favourite sneaky scenes?

Some unused Bond songs just refuse to fade away. Back in 1986, the Pet Shop Boys were led to believe they were going to be chosen to represent queens and their country by doing musical duties on The Living Daylights. So what happened and how different would Dalton’s first film have sounded had they got the gig?

Tchaikovsky’s romantic but troubled music bubbles up across the Bond series. Each time it has something to say or an important role to play, whether it’s satirising heteronormativity, softening up rival spies or providing a prelude to a climax. Fire up the jacuzzi because we’re going in!