So... a sort of on-topic/off-topic story:
I scored a movie a bit back (“Kazaam” - yes, the one featuring Shaquille O’Neil as a genie...) in London with the London Studio Orchestra - amazing players and I think essentially the LSO under a different name. Anyways, an action score but ~not~ a Bond film.
Due to the often various, shall we say, “idiosyncrasies” of scoring a film in Hollywood, the production dragged it’s feet on deciding where and when they wanted me to record the score. By the time they decided they wanted to send me to London, Abbey Road and Air were already booked with other sessions, and our scoring stage choice was left to CTS.
When I arrived at the stage the first day, I was in awe of all the classic Bond posters hanging in the Lobby; as many of those scores had been recorded there. “Cool!” I thought.
CTS was a bit of an odd room. A huge and very square sunken space, the control room was “upstairs” - one walked down a flight of stairs to get to the stage floor below - which was funny because the control room window then looked out at nothing but the back wall - you couldn’t see the orchestra at all from the console, but had to walk over to the window and look down.
Anyways, we had a big band for the sessions - something like 95+ players if I remember correctly. And as an action score, I had written some big forte brass motifs - with a big brass section to perform them. I was excited. At a stage like say, Warner Bros, this would have sounded, well, awesome.
It was the first time, on the first day, that the brass got to one of those big motifs, that I discovered an important, however accidental, clue to the Bond score “sound.” When the brass hit the first big moment, they room acoustics of the stage completely overloaded - essentially obscuring the rest of the orchestra - strings, woodwinds just vanished in the mics - and we had a lot of string players! And the characteristic “honk” of the brass - my score had instantly turned into a “Bond” score! We weren’t using mutes or stops; but the scoring stage, being a big square box, clearly had a few modal resonance peaks that were at the right frequency to accentuate brass (especially horns and bones) resonances and create “that” sound. It was both a “wow” and a total “uh-oh” moment. We spent the rest of the week re-marking all of the dynamics in the music so that the brass never played above mF and the strings had to dig in a lot more. The brass still hounded huge - just - to the degree we could even control it at all - a little less “Bond” “honky.” The takeaway was that, as always - the recording room is a huge part of the sound.
Back to the OP’s goal here, in addition to some orchestration/articulation choices - like stopped horns etc, I think you can get this sound by using whatever brass samples you have - and some creative use of filters and saturation plugins to process them. Put a filter plugin on your brass stem, reduce the top end curve of the filter a bit and dial up the resonance peak/sweep it around until you start to find ‘that’ sound. Add some subtle distortion/saturation to taste. And (though this might be a little counterintuitive) possibly feed a little of the brass to a spring reverb plug-in - as this will make it cue “vintage” aurally as well. When I was scoring Futurama I used these tricks a bunch, because often I needed the orchestra to sound old and vintage - but the LA scoring stages actually sounded themselves too “clean” and modern. I used to also stuff a mic into a trash can in the center of the orchestra and blend that recorded signal into the mix - essentially trying to mimic a “honky” and less perfect recording environment.
So... until someone finds a big resonant and funky square room and samples an orchestra in it, my suggestion is to be creative and experimental with whatever tools you have already; you might be surprised just how close you can get!