ABOVE: BOND GIRLS ARE FOREVER! (top) Gloria Hendry and Jane Seymour co-starred opposite Roger Moore in his debut as James Bond in Live And Let Die (1973). Gloria Hendry had worked as a PLAYBOY Bunny at the New York PLAYBOY Club from 1965 until 1972, and later appeared in several 1970s ‘Blaxploitation’ films, including Across 110th Street (1972) [which starred Yaphet Kotto pictured above right with Jane Seymour and Roger Moore], Slaughter's Big Rip-Off (1973), films Black Caesar (1973) and its sequel Hell Up In Harlem (1973). She also portrayed the martial arts expert, Sydney, in Black Belt Jones (1974). Appearing in Live And Let Die as CIA double agent Rosie Carver - James Bond's first African American love interest, and posing as ‘Mrs. Bond’ when the two first meet in San Monique. Jane Seymour had begun her career with small roles in Oh! What A Lovely War (1969) and Young Winston (1972), both directed by Richard Attenborough. Seymour would marry Richard Attenborough's son Michael in 1971. Prior to landing the lead role of Solitaire in Live And Let Die at the age of 22, Seymour (pictured above centre right with Live And Let Die co-producer Harry Saltzman on location in Louisiana) had a leading role in the popular BBC television series The Onedin Line (1972–1973). After Live And Let Die, Jane Seymour played the key role of Agatha/Prima in the two-part British TV movie Frankenstein: The True Story (1973), and in 1980 starred opposite Christopher Reeve in the romantic fantasy/drama Somewhere In Time, which earned her a Saturn Award nomination as Best Actress.  From 1993 to 1998, Seymour starred as Dr. Michaela Quinn in the US television series Dr. Quinn, Medicine Woman, earning her two Primetime Emmy Award nominations and four Golden Globe nominations, winning once in 1995.

ABOVE: Jane Seymour and Roger Moore pose for more publicity photographs on location in New Orleans. In The 007 Diaries, Roger Moore's account of filming Live And Let Die he remembers:

Following the Fillet of Soul scene, Jane and I agreed to pose for pictures for Anwar [mis-spelled Akhtar] Hussein, a photographer who was in something of a panic because he was leaving the following day and had not got the standard two shots of Jane and me together with me looking suitably protective pointing my gun. The problem was we had no gun. The twenty-five carried by our property department were 15 miles away and locked in a warehouse, and by the time they could be brought over the light in the French Quarter Inn courtyard, where the session would be shot, would have failed. David Dagley, who was covering for West Germany’s Bravo magazine, desperately wanted a similar shot. Dan Slater was caught in the publicist’s dilemma of having artists available on the one hand, photographers frantic for a specific shot on the other, but without indispensable props; in this case the gun.

The only gun in sight in the French Quarter was slung on the hip of a young point duty policeman, and discussion revealed that, with his sergeant’s permission, the policeman, with typical Southern hospitality, was quite happy to loan his gun on condition we borrowed him as well. After a street search, the sergeant was found and gave the go-ahead. The policeman strolled into the French Quarter Inn courtyard smiling, took the bullets out of his Smith & Wesson .38 police special, which happens to be one of the guns I use in the picture, and sat down sipping coffee for half an hour watching, while Jane and I worked with the photographers.