"I'm Lee Tamahori, the director of Doe AnotherDay." "I'm Michael Wilson, co-producer." " Morning, Lee." " Hi, Michael." "(Mochae/) So here's the logo, which you've changed slightly right here." "(Lee) We just thought it would be amusing for the 20th movie, 40th anniversary, to throw a projectile straight down the barrel of the gun." "Just for this, as a one-off." "I don't expect it to happen on the next one." "It shouldn't, really." "It's just more of an amusing aside for those..." "You'll have the audience ducking under their seats." "So here's Laird Hamilton over in "Jaws", this opening sequence that you devised." "Yeah." "These are the world's biggest waves, and that guy is Laird Hamilton, who pioneered the art of tow surfing, meaning that..." "They never used to be able to surf these waves, but he pioneered a technique where you use a Jet Ski to tow you onto the wave, because you cannot paddle onto it." "Once they got onto these waves, they could surf them." "The largest waves in the world, at a place called, of course, "Jaws", on the island of Maui, and only the bravest dare go here." "What you see there, three guys surfing at once, is one of the toughest things you can pull off on any wave, let alone at Jaws." "usually, every surfer is fighting for that one position on a wave." "To put two on is hard enough, but three is nigh on impossible, so that was..." "And here we are back in jolly old England, right?" "Yeah." "This is in Cornwall." "This has got a very..." " And there's a studio shot." " Yeah, that's a studio shot." "So it's special effects, bluescreens, Pierce - who didn't go to Hawaii..." " He didn't go to Cornwall, either!" " He didn't even go to Cornwall." "These are all doubles, so we had to marry these different elements together, and then put this on the Pinewood lot when he comes up, and all of this stuff was shot on the back lot at Pinewood." "So those three sequences are a classic example of how to put a sequence together without the lead actor, and insert him into it." " He's pretty active from here on out." " Yeah." " Got our air-to-air unit working here." " Yeah." "This is all..." "This is Korea, but, of course, it's actually" "British army land somewhere at Aldershot, south of London." "Then we run back here to Pinewood again." "This should be familiar to fans of Bond movies." "If you look carefully at this site where this helicopter's landing, you'll probably recognise it out of every movie back to From Russoa woth Love." "This scene's been shot in this clearing for the last 40 years." "(Mochae/) Then we go to setting up the diamond idea, and the explosion." "Yeah, this is a kind of time-honoured Bond theme, really, the idea of stealing another guy's identity, so we had to visually very quickly tell the audience what was going on." "The best way was with duplicate costumes and similar hair colouring, and hiring an actor who looked similar to Pierce," "so you got the idea very quickly that" ""Oh, I see." "Bond is assuming this guy's identity, and taking over his character."" "(Mochae/) So here's our back lot in January in London, in Pinewood, which was pretty cold." "But, actually, it was just like North Korea, when you think about it." "(Lee) Evil weather!" "This is Will Yun Lee, a fine Korean actor, a North American actor, of course, a Korean American." "We chose him because he was good-looking as well as he had the ability to look evil and mean, but also he's actually extremely adept at martial arts." "His father is a world-class champion teacher, has 20 martial arts studios, tae kwon do, so he grew up in that environment." " And that's Rick Yune." " Yeah, Rick Yune, who plays Zao." "This is one of the few times you'll see him without diamonds in his face." " And with hair." " And with hair as well!" "And it's an interesting thing." "When I offered him this role, he was more interested in playing Will's character." "He wanted to play the part of Colonel Moon, and I said "Look, Colonel Moon is only in the movie for a very small amount of time."" ""Really, the character you should be looking at is his sidekick, Zao."" ""He's in the movie an enormous amount, and he gets diamonds stuck in his face, he has a bald head, he's turned into an albino with pink eyes..."" ""This is a classic Bond villain." "You should want to play this part."" "And it took him a while to get it." "Once he did, he enjoyed it." "It's like Oddjob." "Not much dialogue, but you have a great presence." "That guy in the background with sunglasses on, the "diamond dealer", is actually a Korean priest." "I'm not sure what the religion is - Buddhist, Shinto, something like that." "He turned out to be our on-set translator, and he was a great guy." "For a religious man to be running around on a Bond movie, in the middle of explosions and bullets, interpreting on the run, was very amusing for all the Korean guys." " Here are our famous hovercrafts." " This was a nightmare in the making." "When you read this in the script, it reads well, but when you come across them for real, they have a host of problems, notably that they're very hard to manoeuvre." "Vic Armstrong, our action unit director, went and tested these things out, and he came back with the report that I knew he'd come back with, that these things are fantastic machines but completely unmanoeuvrable," "and you will not be able to get them to go where you want them to go." "Throughout the sequence you're going to watch, you're seeing an enormous amount of work by Vic and his crew, and anybody associated with these hovercraft." "They're industrial hovercraft modified by the art department to look military." "They are floating on air, but the work involved was enormous." "Yeah, to turn, you have to make your decision 50 yards ahead of time, then kind of skew yourself around to turn 'em, so this needs a lot of planning, and you have to be a specialist." "We wanted 12 of the small ones for all the things we had to do, and our special effects guy, Chris Corbould..." "They couldn't manufacture them for us, so they gave us a licence and we actually built them in the studio, powered them and everything." "They're totally built by the special effects unit, based on the real hovercraft." "(Lee) There's our helicopter blowing up, a real helicopter." "Coming onto a Bond movie, you kind of think" ""Where's the fake helicopter that's going to blow up now?"" "You turn to the special effects guys, who go "We're going to blow up a real one."" ""That's what we do on these movies." "Oh, wow." "This is great."" "So you're watching a real helicopter blowing up." "They just stripped out all the expensive avionics and stuff." "What Peter Lamont, the production designer, and Chris Corbould did was find two old helicopters, one that flies and one that doesn't, and blew up the one that doesn't." "Chris finds it easier to blow up real things, and I agree with him!" "It looks fantastic." "(Mochae/) Here we're starting the basic action sequence when Bond fires off, where the second unit begins to get more and more involved in the action stuff." "(Lee) These shots here are action-unit shots, then there's our shots." "I'm doing these ones with live action, with all the actors." "This is all me, most of the stuff wherever you see the actors, then there's a compendium of Vic and myself in amongst all of this - pretty standard procedure for these kind of movies." "(Mochae/) But you guys work hand in glove doing the storyboards." "He's in the back lot, you're in the main studio..." "That's right." "This stuff is extensively storyboarded." "The opening of all Bond movies has to be pretty well thought out." "Vic'll make adjustments because some things we storyboard don't work." "He'll poke seven cameras at this sequence, of course." "When you put that many cameras on it, you'll always get something out of it, an explosion here, something there." "This was my idea, this giant concrete gate." "We'd seen some research material from the demilitarised zone in North Korea, and all over the demilitarised zone, the roads going through it have these giant elevated concrete blocks that can drop on a moment's notice to prevent tanks from gaining entry" "to any part of the DMZ, so we decided to employ that as kind of a modern portcullis for Moon's compound." "It's wonderful that we can drop Pierce into these things." "He doesn't mind, you know..." "When you can get him away from us, which is difficult, you send him off to Vic's unit, and he does a day or two with Vic." "They put him on a rig and tow him around and fire these hits off, he fires machine guns, they blow up things, he gets things stuck in his eye..." "He comes out as if he's been through a war zone." "But he kind of enjoys it, too." "He's a kid at heart." "(Mochae/) And also, he's great at it." "He really sells it." "Yeah, I know." "One of the first things I noticed about Pierce is that he really, really understands the nature of both aspects of playing Bond, which is suave, sophisticated acting required in some scenes, but then also these type of action sequences are quite difficult." "They're not so much acting, but you have to bring your dramatic professional training to these one-second, two-second shots." "And he always makes them look realistic." "They're very tough and well-considered - a turn of the head, a firing of the gun, a punch, a roll." "It's important for this genre, otherwise it can end up looking like a parody." " A lot of people don't understand that." " He puts the effort... shows the effort." "He reacts..." "This is a classic marriage with studio bluescreen." "Cos we tried to do both actors on the run on real rigs out there in the location, but it was raining, they were slipping, it was very dangerous, so we made a decision - an expensive one, but a safe one in the end " "to abort putting both actors out on these hovercraft and do them in the studio." "It's nerve-racking doing bluescreen - you never know how it'll work out - but it worked very well, the guys did a great job." "We had a scheduling problem with Lee, cos he was in this series up in Canada, and we had to bring him back at the very end of the shoot after we couldn't finish because of the weather." "(Lee) This was my harebrained idea, this kind of weird temple at the end." "I said "We need to smash into something, and we need to be on a controlled path."" "So this thing about "Why is this temple on the edge of a waterfall?"" "Come on." "It's a Bond movie." "It has no reason to exist." "This temple is not a temple." "It's a bell under a kind of Asian roof, on the edge of a giant waterfall, so we had something to smash into " "Bond, so he could hang on to the bell - and then it could go roaring off the edge of a precipice." "It's one of those things you would not put in a normal dramatic film, but in this..." " This is all John Richardson's model." " That's right." "The actual hovercraft going over was a fifth-scale model, and a gigantic model waterfall was built for that." " Yeah, it was about 60 feet high." " Mm-hm." "This is Colonel Moon's father, played by Kenneth Tsang, a very fine Hong Kong actor who I've seen in many movies before." "I think he's done an exemplary job in this." "He really pulled out all the stops, as you'll see, to portray this character, and I think he's done a great job." "He also gives a lot of sympathy to the North Koreans - he puts a human face on the North Koreans, which we need in order not to vilify them." "(Lee) Here's the obligatory front-title sequence." "An interesting thing about this..." "It's not entirely new to do things this way, but..." "Before I came onboard," "Michael and Barbara and the writers had decided quite some time ago to integrate the title sequence with the pre-title sequence." "As most of you are aware, the pre-title sequence for years has stood apart from the rest of the movie." "It's usually just an action sequence that introduces the movie." "Then you go to the front titles - girls, champagne, guns, whatever it is - and then you get into the story proper." "But this movie has a full integration of everything." "The front of the movie, the titles, the rest of the movie, right through to the end is all seamlessly integrated." "They're all story elements that dovetail together, and all have an impact on the rest of the story." "(Mochae/) And very rare that the stuff that you shoot - a lot of this you shot " "Danny Kleinman has integrated with his sort of fantasy titles, and it really works well, I think." "It pushes the whole story forward, you understand what's happening to Bond, and it still keeps the integrity of the title sequence." "Yeah." "It was an interesting thing to get into this." "Normally the main unit - myself, or any of the other units - don't shoot anything to do with the title sequence." "It's a stand-alone sequence that usually is shot by someone else, and for several movies Danny's been doing these." "He was quite intrigued with this one, because, as I said, a lot of imagery in here is shot by myself, then Danny's played around with it and done other things, just in order to progress the story along." "Effectively, what you're watching here is Bond being incarcerated and tortured by North Koreans for a long period of time, over a year, and as the story progresses you understand why it had to be that long." "That caused quite a lot of consternation in the story department." "It wasn't that we didn't want to do it, we just wondered if an audience would buy the fact that Bond, after 19 movies, could be incarcerated for over a year." "But I think, having watched the movie now, it's amazing how you do buy it." "North Korea, being this strange state that we know very little about, seems to be a giant prison camp anyway, and it seems to be perfectly logical." "(Mochae/) And Madonna's song." "She's integrated this pretty well." "We went through several interpolations of it, but I think when she saw the rough material we were gonna use, she sort of adapted the song and changed the title to "Die Another Day", which was very important." "(Lee) It really grew on me, the song." "At first when I heard it I was a little concerned." "It seemed to have stops and starts, and it didn't seem that evocative of what we were talking about." "But the more I've heard it, the more I like it." "She rewrote..." "The chorus is written for the movie, and I think it's made quite a profound difference." "So here's Kenneth Tsang back again, and your... scorpion girl." "Yes." "Well, this is my sick and twisted imagination." "It wasn't in the script." "It just said "Bond is tortured", and I thought "Bond movies have to have beautiful girls in them."" ""Let's put some evil..." She became known as "Scorpion Woman", and my son, who was 14 at the time, was absolutely besotted with her." "He didn't want Pierce's autograph, he wanted Scorpion Woman's." "The magic still works." "She didn't really have any dialogue, we just wanted her around so one had the impression that she was in charge of whatever torture Bond was undergoing." "Rick and Bron, who did the hair and makeup for Pierce..." "A fantastic job, some of the best I've seen." "I'm very critical of hair, and especially beards, but these guys, Rick Provenzano and Bron Roylance, are exceptionally gifted." "This, for those aficionados of camera movements, is a gigantic crane shot, which is about take 18." "You have to wait for the wind to get the flag in the right direction, and all these extras to be in position..." "These shots are nightmares of cueing, but worth it when you get them right." "Just another note about Pierce's look here." "We all really liked this look on him." "It's a very unusual look." "And Pierce really did great work in this scene, I thought, because he gets very few opportunities as Bond to play this level of intensity." "He's about to be shot by a firing squad, he's been in jail for over a year, he's emaciated, beaten up, tortured, he's got scars..." "I think he played the scene exceptionally well." "This is a bridge at the DMZ representing the exchange point between North Korea and South Korea, and the writers, Rob and Neal, had kind of based this on the great old Cold War story concept of the bridges between East and West Berlin when they exchanged prisoners." "Of course, this scene is about Bond thinking he's about to be executed, when really it's a prisoner exchange." "General Moon is trying to extract information from him at the last minute, thinking he'll crack and give him information before being shot." "I like the way you stuck with Pierce on this." "As he turns around, all this is happening." " You kind of go with the actor." " Yeah." "There's usually a tendency to cut away to the firing squad, but I always felt for a sequence like this you want to stay with the character." ""Where are the bullets gonna come tearing through the flesh?"" "I was watching Pierce and I thought" ""We can't just cut away from this." "It's too powerful, it's too strong."" "And then he cottons on to what's going on here, and who's coming out of the mist at the other end of the bridge." " Remember the mist you had to put in?" " Yeah." "All this is artificial fog." "We had to create the illusion that he couldn't see the South Korean end." "Here comes Zao, still with hair, but with diamonds in his face." "This whole diamond idea was kind of my idea." "The original concept was for this guy to turn up normal, if you will, on this bridge, then when we meet him in Cuba to be an albino with pink eyes, et cetera." "I suggested to the writers that maybe as a nod to the great Bond villains of the past, especially people like Jaws, guys with steel teeth and other odd characters, that without going way over the top - this is the 21st century " "this guy could possess a very expensive face." "Namely, when the case full of diamonds blew up in the compound, it could spray his face with particles of diamonds, and they could stay in his face for the entire movie to give him a little more of an amusing side to his villainy." "Here's Bond being captured when he thinks he's coming over as a hero." " This is a da Vinci machine." " Yeah." "The sequence from the beginning up to here has been desaturated in colour, and that's part of what's known as digital grading now." "We wanted the North Korean sequence to look different from the rest - cold, inhospitable, and quite bleak." "That's why the front of the movie seems to have very little colour." "This is the first sequence where a rich colour palette comes into the movie, and it reflects also, I guess, the change in the movie, where Bond is now out of North Korea and back into the real world." "(Mochae/) And here's Dame Judi Dench." "(Lee) She's smashing, and fantastic to work with." "I used to joke all the way through this, but I'm sure there's an air of reality about this, that Dame Judi's job in these movies is to move the plot along." "She is the one person in these movies that has such authority and such stature that we can put any words in her mouth - if you listen to this scene, she explains vast areas of the plot, and she makes it sound so interesting." "She's better than anyone else at getting story points across, so every time she turns up in the movie, you'll see her do this." " This is one of those occasions." " And she's tough in this scene." "No sympathy." "She has to be... the boss." "And Pierce is doing a good job." "He has to react to this situation where he's not being believed, and... / neverasked to be traded." " /'d rather doe on proson than /et hom /oose." " You had your cyanode." "Threw ot away years ago." "What the he// os thos about?" "The top US agent on the North Korean Hogh Command was executed /ast week." "The Amerocans ontercepted a sogna/ from yourproson namong hom." " And they thonk ot's me?" " You were the on/y onmate." "They conc/uded you cracked and were haemorrhagong onformatoon." "We had to get you out." "And what do you thonk?" "She says at the end here "You're no use to anyone any more."" "It's quite a deflating statement for a hero." "That's the low ebb of this whole story." "The other thing about this scene is you don't know where you are." "It's a very claustrophobic hospital set somewhere." "It's soon to be revealed where we are." "Remember, we've just come from North Korea." "Is he in London?" "The usa?" "We don't know where he is." "There's a very good reason for that." "The boys wrote this as, once again, a nod to the spy thrillers of the '60s, notably things like /pcress Fo/e, these prisoner-exchange movies, or where people were in environments where they didn't know where they were," "and the audience was being second-guessed as to where they were." "You only find out once he escapes from here." "What's due to come up here is quite interesting." "Bond escapes from this ship, and I was always agonising over this." "As a director, you get these things written:" ""Bond suddenly gets the idea, and we go into his mind to see him slow his heartbeat down and stop his heart and cause a crisis, whereby allowing technicians to rush in, and he can then escape."" "It's very hard to film the internalisation of someone's thought process, so I sat down with my editor and we played around with a concept that you don't usually see in Bond movies, which is this sequence." "It's a very multilayered, I guess almost documentary technique, of many levels of overlapping imagery, so that you could repeat what Bond had gone through in this torture." "But you would get the idea, through sound and imagery, that he was doing this, that he was lowering his heart rate." "If this scene does its job correctly, you would get the idea that" ""Oh, I see, he survived all this torture by managing to go into some sort of meditative state, and control the pain, and himself..."" "(Mochae/) And the venom from..." "And the scorpions that were stinging him." "It's an odd sequence, but it's about Bond being able to control his bodily functions." "It had to be his heart rate, for him to be able to use it to his advantage." "Chris Wagner, the editor, was quite good at putting those things together, and also introducing some things that are typically not in Bond films." " Rampings..." " Speed ramps and stuff." "He's done a lot of work with Tony Scott, and I had a great time with him." "In fact, Christian was, I believe, the first non-British editor on the Bond series, and it's interesting to bring someone new like myself or Christian into these - and David Tattersall, our DP - because the crew on these is a very regular crew." "Costume design, special effects, second unit - all those people work on these regularly, so it's interesting to introduce new blood." "They always bring a fresh perspective in." "This is Hong Kong, but it's not Hong Kong." "It's an entire studio set with a special-effects sequence behind it." "(Mochae/) So this idea was, instead of going through a whole performance about how, when you don't have any money or anything, how you cope..." "Hong Kong, of course, is not under British rule, it's under Chinese rule, so Bond is now in a really hostile country, and he can't rely on any particularly friendly people." "But Hong Kong is an open city, so he can go back to a place where he's gone many times before and just... check in." "It was one of the funniest sequences in the movie." "When I read the script, the idea that he's just escaped from British custody, and, wearing wet pyjamas and looking like Charles Manson, he checks into the ritziest hotel in town, and says "Get my suite ready," "and send up a tailor and some '61 Bollinger."" "That's the stuff we love about Bond." "I always enjoyed that scene enormously." "So we can now cut directly to James Bond, his old self." "This is Bond back again." "You haven't seen him like this for 20 or 30 minutes." "It was always a shock in the movie when suddenly you see him back to normal." "And, of course, this is evocative of the..." "There used to be an entire sequence here known as "the elevator fight sequence", now replaced by this much more modest sequence." "But this whole scene represents one of the cheeky little nods to past movies, especially Bond movies, that many people have talked about and we wanted to put into the movie." "I suggested, literally the day before we shot this, that we do the sequence with guys hiding behind a mirror with a camera, ready to film Bond in an uncompromising position with a woman planted there - which, of course, is a direct reference to From Russoa woth Love." "We just enjoyed putting these things in the movie for those who love the series and would spot these things for what they are." "And it's a tribute to our art director that he got it ready in time." "He got this ready overnight - there was no closet with a mirror, and the special-effects guys had to find six sheets of glass, and have them set with detonators..." "This stuff isn't easy to do overnight." "These guys stay up all night, we turn up next morning and it's ready to go." "But I think the sequence was much better for it, cos otherwise it didn't have this - it was just a sequence where he found out she was not who she was supposed to be, and then the manager broke in through the door." "We just felt that it kind of upped the stakes a little." "(Mochae/) This is interesting in the international politics of it all." "North Korea and China are erstwhile friends, supposedly, although this is a more realistic behind-the-scenes look at how China might use a British agent to do the heavy work that they'd like to do, but can't do directly." "So it kind of works on that tongue-in-cheek, humorous level." "(Lee) There's also a thing I found when we were scripting this:" "since Michelle Yeoh and Tomorrow NeverDoes, China seems to have become an ally of the Bond series rather than adversaries." "This, of course, is Cuba." "We referred to it as our one chance to get sunshine into the movie, outside of London, Iceland and North Korea." "We went to Cuba on a location scout, and we loved it, and desperately wanted to shoot there, but we were not allowed to cos we contravened the Trading with the Enemy Act, an Act of Congress, I believe," "so we ended up faking this - this interior is in Hackney, in London, and that previous exterior was in Cádiz, in southern Spain, in Andalucia." "I was amazed we had all real cigars and cigar leaves and everything here." "This was an extraordinary set, and I have not done justice to Peter's set here." "They did so much great detail work on this, and you run out of time on making these things, and we just didn't have time to get into..." "Any aspect of this set you will find is reproduced lovingly and faithfully, exactly the way it was in one of these Cuban cigar factories." "This odd guy reading this paper here was an idea of mine, because when we visited the cigar factory in Cuba, we found that while girls rolled cigars on their thighs or what have you, the news of the day is read to them by some guy in Spanish." "They don't have time to read newspapers, and it keeps production going." "I thought that was kind of an interesting touch." " (Mochae/) Emilio Echevarría is fantastic." " He's a fabulous actor." "He was in a movie called Amores Perros, a fantastic independent Mexican movie from two or three years ago." "We desperately wanted to, once again, have the occasional character in this movie that really only..." "He visited the movie and was never seen again, but was very reminiscent of a character that I loved out of From Russoa woth Love, called Karim Bey..." " Another Mexican actor." " Yes, strangely enough." "I always felt, when you reflect on those movies, that these characters that pop up are very, very memorable, so you always try to cast them very well." "They don't necessarily have to move the plot along, but they are just there to give colour." "Our thinking behind all of this was, I wanted also someone to articulate." "He does move the plot along, he says he's here, he's there, gives him a gun, a car." "He also ruminates a little reflectively upon the Cuban revolution, and it's a little bit arch, this scene, because it's about people changing identities." "I'd been in conversation with the writers about the Cuban medical system." "Apparently it's quite fantastic, these guys have made great advances, but you're not allowed to talk about it in the uS - they won't admit to any of this." "So this only represents a kind of a little nod to these type of issues, but we wanted him to be a bit of a rogue, because he needed to do things for us." "We wanted him to be affluent within Cuba - which is not affluent - to be a collector." "Look around the room." "You'll see he collects everything from guns to books." "That also allowed us to make him an expert on diamonds." "In later scenes, it allows him to come back and read the chemical compositions of diamonds." "(Mochae/) Also, that was James Bond's book of birds." "Oh, yeah." "That close-up of the book there, the title of which, The Carobbean Foe/d Guode to Bords, is another nod to lan Fleming, who got the idea for James Bond's cover name from this book, which he referred to as the most boring name in the world," "or the dullest character name in the world for a cover for an agent." "Here comes somebody not boring at all, coming out of the water like ursula Andress did." "This is our great homage to 40 years back, to Terence Young's version, which is still probably the template for all Bond girls, which is ursula Andress emerging from the sea in DrNo." "When I got the script it was written in there, and I was very happy to replicate, as closely as possible, the scene." "Of course, she doesn't have clam shells, but she's coming out of the water and Bond's looking at her in amazement." "It was a fantastic scene to shoot, and, of course, when we shot this there was paparazzi everywhere." "You had to beat them back with sticks." "They don't see the likes of Pierce Brosnan and Halle Berry in Cádiz," "let alone Halle Berry emerging from the water wearing this bikini." "It was quite a day, quite a sequence." "This is when she learned of her nomination, when we were down here." "I remember she actually jumped in the air and clicked her heels." "(Lee) Yeah, wearing this outfit(!" ")" "This is every teenage boy's fantasy, and mine included." "It's fun when you get an actress of Halle's stature, and she loved doing this movie." "She came onto this movie with great gusto." "It's interesting that not a lot of actors of Halle's stature want to be in Bond movies." "They think they're just gonna be "the girl", but Halle jumped at the chance to be in it." "And we were so pleased to have her, she was fantastic to work with." "Look at this stuff" " I mean, you can't do better than this." "It's what Bond movies are all about." "And they way she reads "That's a mouthful." She really... (Lee) And if you look, she's wearing a knife on her belt for no particular reason." "It's ridiculous, all to do with this ursula Andress thing." "ursula Andress, of course, had a knife to open clam shells." "I don't know why Jinx, Halle's character, needs a knife on her belt, but nobody seems to question it, and it looks great." "This represents a bunch of ne'er-do-wells." "It was supposed to be a hotel full of wise guys and bad guys," "Serbs, and the Russian Mafia..." "That got lost in the translation - it was too hard to tell that story in the time allowed." "They're waiting to go to this island clinic to get new DNA-regenerated identities, and the idea that there's all these tough guys sitting around with guns and women is kind of "What's going on here?"" "It all becomes apparent the next day, when he gets over there on the island." "He finds out they're getting made over into different genetic... (Lee) And I love this location." "This whole set, this hotel set, has been built on the beach in Cádiz, much to the amusement, or indignation, of the local population, because the team of carpenters was sent out months in advance to build this set." "Can you imagine, these guys having the time of their lives in Cádiz, without us?" "And this is an underwater archaeological laboratory, the basic office here." "This is your love scene." "Are we watching the American truncated one?" "People will have to buy the British version to see the whole thing!" "(Lee) When I shot this, we pulled out all the stops, and there's some fairly serious heavy lovemaking going on." "So here they are, really getting into it." "You don't normally see Bond in the act of lovemaking in these movies, it's usually post-coital, or an after-dinner drink or something." "It's always tastefully handled." "We wanted, after Bond being incarcerated 14 months..." "I kept saying "Couldn't he get out and have the best bonk of his life?" "We all agreed with that, but we still had to shoot it in a restrained manner." "Certainly the stuff that went on the cutting-room floor is quite saucy." "There's two versions" " America having this quasi-puritanical attitude towards sex, we had to cut the love scene." "The rest of the world didn't mind, but in the States you're not allowed to moan, thrust, or do anything." "(Mochae/) Most of the other places want you to cut the violence." "We need a utilitarian, unlikeable guy - let's call him "The Creep"." "We need access to this island, so therefore we need a guy who the audience doesn't like." "Bond can then punch him and treat him badly, take his identity, and take his papers in order to gain access to the island." "(Mochae/) He uses him as the reason to get out." "I liked that girl." "She was... totally at ease there." "That was very funny." "That day there were some extras sitting around, and I said "I think this creep needs some girl in his bed", so we grabbed an extra." "Wardrobe had to run around and put La Perla underwear on her and make her look fabulous." "Makeup went crazy, and they stuck her in this bed..." "But she did it perfectly." "A guy punches out another guy, and she has no reaction to it." "And then he uses him here to get around these guards, causing a diversion and sneaking around behind after checking out how to get there." "This is one of those Peter Lamont specials." "It's a classic hidden laboratory, and, as you'll notice, it's on an island." "The island doesn't exist, it's actually a model, but the top of the model is a real location in Cádiz." "It's a Spanish defence department building, a very old fortress dating back to the 1600s, but it's had different fortifications put on it." "We used it as a kind of two-stage, hidden clinic, if you will." "On the outside, this clinic is a very old, Spanish-style clinic with regular patients." "Of course, Bond being Bond, knowing a clinic when he sees one, and a video camera pointing at a blank wall, he knows there's a facility behind this wall." "So this is once again a nod and a wink to very, very old Bond concepts." "(Mochae/) The star in Castro's hat?" "That's it?" "(/aughs)" "And now we go to the high-tech role." "Once again, another Peter Lamont DNA facility." "That's the double-helix strand there, just to represent what was going on in here, with one Dr Alvarez." "What we wanted here was yet another utilitarian villain who we could dispose of quickly." "In this scene, he's a doctor, but he's a very unlikeable guy." "He talks about getting runaways and killing them for their body parts, so you go "We've gotta get rid of this guy", so... (/aughs)" " But he thinks of himself as an artist." " That's right." "Look what two million dollars can buy you, right?" "This is..." "He is the guy in charge of complete DNA replacement therapy." "This is another completely absurd, bogus idea which has some foundation in fact, but is not quite there yet in the world of science." "(Mochae/) Here's Halle showing her true colours." "This was cut different ways because of the censorship, her shooting this guy." "But in the end, it more or less came out as shot." "(Lee) This is the facility, the high-tech facility that lies underneath here." "This is Halle revealing her true colours as something, we don't know what." "Is she good?" "ls she bad?" "What's she up to?" "They're both prowling around, looking for the same guy, who turns out to be Zao, Mr Diamond Face, who's in this other room." " Having his DNA changed." " What we wanted to do with this is tell the story that this is the reason Bond was incarcerated for 14 months." "These people need time." "It doesn't happen overnight, replacement therapy." "Here's Zao, now as Mr Diamond Face Albino, and this thing is a story we wanted to take months and months." "Six months of intensive therapy, if not nine months sometimes." "There's a very good reason for that, as the story explains later with our key villain, Gustav Graves." "Toby Stephens." " He's listening to German and Korean..." " There's all these different voices, implants of your new identity while you're sleeping." "And although he may look funny, he hasn't lost any of his abilities." "I was very happy to get an old-fashioned firearm back into this movie, too." "I thought it was great to get a heavy-duty revolver in this movie, too, because Bond movies now, he has automatics, Berettas, Walthers." "I thought it was amusing to go to Cuba, which is in a time-warp of the '50s, that the only weapon available to him is the one Emilio gave him, which is a kind of .45 or .38-calibre." "(Mochae/) This turns on the magnetic resonance thing." " Yeah, this is a..." " You've read about that." "That actually happened to some kid who was going in for that." "It almost killed him, because of a steel plate he had," " when they turned that thing on." " It pulled him into the machine, huh?" "This is amusing." "This sprinkler system turning on here, on our set, caused us no end of complications, not least of all because of Pierce's dodgy knee." "The floors were very slippery, everyone was slipping and sliding." "We had to put special stuff down and watch out that Pierce didn't fall over." "If you watch closely, that suit he's wearing, made of calico, I think..." "Linen." "It's a linen suit." "I think they had 14 of these suits." "Every time we turned the sprinklers on, they shrunk." "If you watch carefully, the levels of his trouser leg go up and down by an inch, because within minutes the suit would shrink three sizes and they'd have to put another on him." "Here we are back in Cádiz, back on that castle that's out there, and that was built by..." "Cádiz was built by the guys that built Havana harbour, so that it's a very good match, the whole architecture of the place." "This is where we see..." "We wanted to have Jinx, Halle's character, as a professional assassin, not too dissimilar to Bond." "This is where we first see what she's capable of, or what she's up to, that she's after Zao as much as Bond is after him." "But who does she work for?" "Why is she trying to kill him?" "That was where she supposedly got something in her eye, went to hospital," " with all the press..." " She'll never do that again!" "She got a little bit of dust in her eye from some bullet hits, like you do, a little bit of an irritant, and instead of calling a doctor she went to hospital." "The paparazzi thought "This is it:" "'Halle Berry Death Horror Shock!"'" "Lost an eye, and all that." "This is an effects sequence." "Nobody told me Cádiz was on the Atlantic coast, and it was freezing." "We had to cancel shooting this sequence and reshoot it in a studio, so all this is an effects sequence." "That's cos we wanted Halle to dive backwards off a wall 150 feet down off this island and hit the water." "So this is a CGI sequence, of course, and this is shot at Pinewood..." " In the tank." "But it was very cold." " None of it's in the sea at all." "Everyone's dressed like the Arctic, she's in a bikini." " (Lee) It was unbelievable." " She's a real trouper, just amazing." "We literally had to shut this sequence down, it was so cold." "But such is the magic of movies, it looks like a warm, sunny day." "So we're going back to Raul to see where these diamonds come from, and how they play a part in the film." "I saw him in another film recently." "He's so good." " Yeah, he's exceptional." " And YourMother Too." "He reminds me of Alejandro Rey." "He's got those kind of qualities." "Also, he's great fun." "I introduced him to Scotch when he was over." "Oh, boy." "He took a couple of bottles home with him." " Single malt whisky." "He's now a lover." " Yeah." "We debated whether Bond should smoke." "Pierce has a stand on this." "He doesn't want Bond to smoke cigarettes, but we made an exception for this, cos we figured "Cuba, cigars..."" "Bond could probably smoke a cigar without it hurting his image too much." "Here's Michael Madsen, who you worked with a few years ago." "Michael's a great actor - people will recognise him from ReservoorDogs." "We had this character, and we gave it to Michael and he did a great job." " This is Roger Moore's daughter." " Yeah, that's right." "It's nice to have her back in the 40th film, and product placement with... (Lee) That's right." "And this is the first time I think ever we've had source music in a Bond movie." "This is a 1980, very famous British track called "London Calling", which we put in the movie cos it seemed so appropriate for this sequence." "It's the introduction of the villain." "It was interesting." "We had a sequence here which has now been deleted, how Bond got back into Britain." "We had him coming back in on the wheel of that very 747 plane." "We were going to do it as an effects sequence, of him flying over London on the front wheel of this plane, because the authorities and Ml6 were looking for him." "But we pulled it out at a very late stage because of thos sequence, which was a late rewrite as well." "I felt if we had one sequence of one guy coming back over London, and then we cut to another one, it would be too confusing." "People wouldn't know quite what was going on." "It also didn't match the tenor of the movie." "It also felt like it belonged to a much more flippant era of Bond movies." "We all loved it at the time, but I don't miss it, and I don't regret it going." "(Mochae/) Toby Stephens is a great theatre actor, and we saw him in The Roya/ Famo/y, in which he played the son of Judi Dench." "We cast him after seeing that role." "And, of course, Rosamund Pike is a newcomer." "Yeah, these are the newcomers." "In the tradition of Bond movies, there's always people you've never seen before." "They're not familiar actors, but they get a chance to shine, and I think these actors did an exemplary job." "They're both young British actors, who not many people have seen." "I think we're gonna see a lot more of them, Rosamund especially." "She was all fingers and thumbs when she came to us, because she'd done virtually no film, so technically she was very inexperienced, but I must say I've been dazzled by her performance in this movie." "As a director, you always get these delights when an actor like her turns up and shines in these roles." "And here's Madonna." "Playing the much-gossiped-about lesbian fencing instructor." "I keep reading on these websites" ""Halle Berry Kisses Madonna in Lesbian Love Scene"." "If only!" "It wasn't that way, but we did have this faint whiff or hint of..." "We wanted Madonna's character..." "She wanted to play a small cameo, and this was perfect for her." "I thought "That's great." "She's legendary, people will recognise her straightaway."" "So we had designed for her - absurd, of course, cos fencing is white costumes - a black leather fencing corset, just because it's wonderfully sexy." "Some of the instructors have black, so it was a little poetic licence." "So we had this little hint between..." "Her protégée is Miranda Frost, and there's a faint whiff of some sexual scandal or something going on." "She really took to this, and she was great, cos there was a lot of anxiety about whether she could even do this." "She was busy making a play in London, and she had no time at all." " Sunday's the only day off." " We kept rescheduling the scene." "Literally, it was one of the last things we ever shot, she came to us so late." "But she was great." "She came in, eight hours, did it, and was gone." "Very professional - and I thought it was good that she didn't want a character that overloaded the movie in any way." "It's an amusing little cameo." "This is the obligatory "Bond meets the villain", and they trade insults and they start probing each other." "And, of course, this other woman has arrived." "Who's she?" "This set is built by Peter Lamont." "It's a fabulous set." "It's reflective of a club that occurs all the time in lan Fleming novels, known as Blades." "It was Bond's club, and the novels were written in the 1950s and early '60s, so gentlemen had clubs they belonged to, and probably still do." "But it is very reflective of any London gentlemen's club." "(Mochae/) We did use the Reform Club for some of the scenes." "This is a set, and the exterior is a set as well, but as this fencing moves out the doors we go into a real London club." "So we've used a combination of real interiors and staged interiors." "They really put their heart into this." "Everybody..." "Toby really worked hard." "The funniest thing was, Toby and the stunt doubles..." "We thought we'd have to use stunt doubles, cos Pierce had no time to learn..." "And a bad knee." "..his manoeuvres and some fencing." "But Pierce is so good at picking up short bursts of action, ten seconds here, 30 seconds here." "He's better than anybody at it." "It comes from doing three of these movies before, and Remongton Stee/e." "He's exceptionally gifted at this, so what we ended up with was Pierce and Toby virtually doing 90% of all this fight themselves." "There's very few scenes where the stunt doubles appear." "Even where Bond goes over the wall is Pierce himself." "It was one of the last things we did, and Pierce identified very early on that because he didn't have time to train..." "He didn't want Toby to be all over him, as an actor or as a character, and he didn't want to have his stunt double play up against Toby." "I think that was very well spotted on his behalf, to be able to come in here and..." "His concentration was just remarkable." "We were in awe of it." "It was the end of the movie, he was tired..." "I love the way he kicks the sword." "It's one of those things that just happened." "It wasn't even planned, but it worked so well." "These are real swords - they're not sharp, they're blunt, but you could still sustain serious injuries." "You have to be very careful." "These are not plastic swords." "And we had Bob Anderson, one of the great masters of sword in the world." "He does Zorro, Lord ofthe Rongs, everything." "He worked out our fencing sequences with George Aguilar, our stunt coordinator." "Between the two of them, they worked this whole sequence up." "We wanted..." "It was initially written as fencing with épées, but we all felt that that didn't ramp up enough, that fencing, you're stuck in one environment." "We wanted to move it, get it bigger, and start slashing valuable works of art like Gainsborough's B/ue Boy." "I like that!" "Cos in Bond movies, you get to do this." "So we wanted to move it from épées to military sabres, which these are, and then take it from here into bigger swords, which are English broadswords, just to make it more dangerous, and keep moving the..." "I think it's also important that you kept with the actors and didn't to crowd reaction shots, which some directors have done to get comic relief, or reaction to..." "But the whole thing is right with them, it never gets away from them, and it keeps the intensity going." "It ebbs and flows, of course." "At this point..." "Right here is where Bond starts to get on the offensive, and the whole fight changes." "We had so much light out here to create the illusion of an outdoor environment, even though it's inside, that one day a lamp set off the sprinklers." "The whole set got flooded, and it caused enormous consternation, cos at Pinewood they've never had that happen before, and we had to shut down." " The temperatures were just so high." " The heat got to 130 degrees, up in the loft." "This is a funny scene." "All these angles were shot on a day Pierce was not available." "He was in Amsterdam, and we had to keep shooting something." "Tony Waye, our executive producer, said "What are we going to shoot?"" "I said "Don't worry." "Just give me a double, and I'll have Toby and Rosamund do all their work."" "It's not fair sometimes on actors." "I did go to the actors and ask if it was OK, but we had to stay on schedule and move this thing along without Pierce there." "Sometimes you do these things, and people never notice them." "Here we are in the Reform Club." "Around the Wor/d on 80 Days was the famous time this was used." " You mean the original, or Pierce's one?" " The original one, 30 years ago." "I love the way Rosamund looks here." "She's so smashing, so elegant." "I remember talking to Hair and Makeup about how we made her look, and she looks so elegant when we take her hair and pile it up and get it off her neck and her facial features." "She has these beautiful characteristics, not unlike Audrey Hepburn." "And this guy you cast because you met him!" "My version of London is populated with Rastas, but we went to the Reform Club and were told we had to wear a tie and a suit even to do a location scout, and I'm always indignant about that stuff." "But we went along with it, and the first guy to greet me was a Rastafarian janitor!" "I thought "This is ridiculous", so I put a Rasta in the club as the doorman, just for amusement's sake." "This is a beautiful set, built by Peter Lamont to reflect the nature of the scene that was written by Rob and Neal." "Bond, for one hour of the movie, or for 45 minutes, has been outside his normal working environment, and now he comes back to confront M in London in an underground station." "We checked out real stations, but it's impossible to get the gear down there, so Peter built one, complete with tracks." "He wanted to put a train in there." "This is on a sound stage, and it's a beautiful set, because it had to serve several purposes, as you'll see." "Even John Cleese and all his gadgets used this set." "It's one of my favourite sets." "This came from the idea that Churchill had a station that he used in the Blitz, one of these abandoned stations." "It's right near the Eon office in London." " Wow." " It's right across from Green Park." "All the detail work we never got to see." "That's an old firing range in there, full of old Webley service revolvers from the 1950s and the 1940s." "It's a good environment to move the plot along, which is what this scene's about." "She really moves it along: "Argentinian, born in a diamond mine, blah blah blah."" "She gives us the entire background to Gustav Graves." "Then the clinic." "We get filled in on that, just in case you didn't figure it out." "You get reminded about what is a DNA transplant." "I like the way you use a wide-angle lens down here, and the way that David Tattersall lit it." " It really uses the whole set..." " It's fantastic." "You can read as many scripts as you like, and do as many storyboards as you like, but until you get on these sets with your director of photography and designer, that's when these scenes come alive, and I love getting..." "You always have a plan of action how to shoot these scenes, but then you get in there with the two actors, and a whole host of possibilities suddenly present themselves." "You run around with your DP and designer and chop holes in walls and do things, but this set was so easy to work around." "Peter's so clever." "(Mochae/) Now comes the directorial sleight of hand." "(both /augh)" "(Lee) That's right." "This was the first shot, first day of photography." "And I suddenly realised I was on this Bond movie, when on the first day I had Bond dressed in a Brioni suit, with a Walther in his hand, shooting bad guys in Judi Dench's office." "I thought "My God, this is it." "This is the guy."" "Look at this." "He's fantastic." "The way he moves and the way he does all this." "Some of this stuff can look very hokey in other people's hands, this combat stance, the way he moves." "Cos it was a virtual-reality sequence, the types of camera movements we're employing here, these fast movements, were to be reflective of the type of movements you get in video gaming where you can move the cursor around and go very fast." "But we didn't wanna tip our hand to the audience that this was not real." "We wanted it to be as real as possible." "I told Pierce to play this without any trace of emotion at all, to keep it in the style of video gaming." "If you see here, we always keep him head and shoulders." "Your first-person shooter in video gaming is always head and shoulders." "You can only see in front of the character or behind him." "Then we get to this slow-motion shot, and John Cleese walks through the wall." "It's an entire special-effects composite." "Everyone gets the idea once you get to this stage." ""I see." "It's a virtual-reality sequence."" " (Mochae/) It's the new shooting range." " It's the new digital shooting range." "(Lee) So, this idea developed that we would have the Q scene in a warehouse full of things like that jet pack from Thunderba//." "There's Rosa Klebb's shoe from From Russoa woth Love." "That's the real shoe." "If you look around this room" " I didn't have time to have the camera roam all over it - there are props going back 40 years from every movie in this." "(Mochae/) We have Meg Simmons, our archivist, that keeps the Bond archives." "She got a chance to pull out all the props that she's kept." "(Lee) We were struggling to come up with new gadgets." "Invisible cars and a ring." "Can you imagine?" "The last movie had invisible x-ray glasses showing women's undergarments." "I thought "That's cool." "I've got a ring that breaks glass."" "But somehow it is the most used gadget in this movie, and it works to great effect, this tiny, simple gag." "And then this one, I even forget how this came about." "We were talking about the Aston Martin." "The much beloved Aston Martin comes back in Bond 20, as it was known - now known as Doe AnotherDay." "Course, it was BMWs before this." "Of course, I wanted Cleese to acknowledge this fact, this triumph of British engineering, the great era of handmade British cars." "When you see this car, people just salivate over this car." "(Mochae/) The writers had used the adaptive camouflage that's been used, experimentally, in American tanks." "Because they have a similar thing, where they have screens that project these things." "They're meant to be seen at long distance and be a kind of camouflage." "This was a development of that idea." "And so in the special effects, it's there, you can sort of see it." "It never quite disappears in most of the effects when it's used." "It's quite an interesting gimmick." "The thing about Q is that when he was R, in the last film, he was a little slapstick, but now he's taken over, he's become like Desmond." "We miss Desmond dearly, since he was killed in a car accident, and he was the longest-term Bond player." "(Lee) Yeah." "Ever." "It's quite touching for someone like myself, coming into this for the first time, to be surrounded by these echoes of great characters like that, the Moneypennys and Qs." "And I remember saying to everyone that I thought that we have to be very careful about how we bring John Cleese in and instantly make him Q, but make him not be Desmond but to instantly take over this persona." "And I think he's exemplary." "He combines all those qualities of the Cleese characters that we love so much " "Basil Fawlty and those absurd characters from the Python era." "And his wardrobe is of what I call the John Major, Thatcherite era." "He's got a tie, a cardigan." "He's an unreconstructed Tory from the '80s who now finds himself in charge of the Q division of Ml6, which allows him, as a character, to have an attitude towards Bond." "I always find that actors like that a lot more, when they have some background." "(Mochae/) The scene we've just seen is the one that Rosamund tested when she was going up for the job." "It was the first thing she did when she came in." "Imagine walking in and playing a scene with Dame Judi Dench as your first scene in the movie business." "And she really brought it off." "It was great." "(Lee) This is a special-effect shot." "That model in the background has been digitally tracked into a shot that was shot in Iceland." "This represents the Sydney Opera House version of an ice palace that's built and deconstructed every year in Finland, is it, Michael?" " (Lee) Lapland." " (Mochae/) up in Lapland." "And so from this idea, the writers got this idea of building an ice palace, of course, of gargantuan proportions, as only in Bond." "(Mochae/) And Peter Lamont visited it last March." "He stayed in it just before it melted, and it was five degrees below zero in his room." "(Lee) This is an interesting development." "This ice speedster came around as an adaption just before production began." "I think it was the brainchild of several people in the special-effects department." "Originally this sequence was written as ice yachting, but we found yachting to be deficient in a lot of areas and we wanted a new vehicle." "In the great tradition of Bond movies, we figured a new vehicle that tries to break land speed records on the ice, rocket-powered ice speedster, would be perfect for this type of environment." "And here's Peter Lamont's gigantic set on the 007 stage." "Wall-to-wall ice palace, it took six months of construction, and it's probably one of the biggest Bond sets ever built." "And it's been built over the same tank that they had the submarines in for The Spy Who Loved Me." "To get on a set of this size is just fantastic." "(Mochae/) And the way it's been dressed, with all these ice sculptures, and then a big party in black tie, it was really used well." " (Lee) The other amusing thing..." " And then a big chase." "(Lee) Peter had started to design this and was laying out the floor plans from it when I went to Peter - I forget how it came about." "I remember going to Peter and saying" ""We only have two scenes here." "It's costing a fortune."" ""It's taken six months to build, but we only have two scenes."" "It felt like not so much a waste of money, but an underutilised set." "So I said "What would happen if we finished the car chase in here?"" "He gave me this long, blank look, as he does." "I said "Is it possible?" He goes "Anything's possible."" "So that night he and his guys get together and they literally came back the next morning with a much more expensive set, but one we all agreed - the studio, producers, myself and the writers - was much better." "We wreck the place." "We have an opportunity to have cars racing in, and smash the place to pieces." "But it meant it could not be constructed as a normal set." "It had to be real, structurally sound, conforming to building codes." "(Mochae/) The balconies had cars running around the top." "(Lee) There's 61 miles of tubular steeling running through this set to make it constructed to take the weight of speeding cars." "underneath, where Halle is standing, is the famous 007 tank, where submarines and many underwater sequences have been." "underneath that is where the car smashes through into the ice and ends up underneath it." "(Mochae/) And the other half of this place is supposed to be the big greenhouse." "(Lee) This is the dream machine." "This is the character of Graves." "It's a little elusive in the story, but anybody that goes through DNA therapy, a by-product of that is that they lose the ability to dream." "Even sleep is a problem." "And so this scene, and that strange Bondian head gadget, is very reflective of an artificially induced sleep and dream sequencer." "(Mochae/) Now our villain's speaking Korean." " This should make people think." " (Lee) Give you a few clues." "But this, of course, has the greenhouse that we built, and went to Cornwall to see that..." "The writers hunt the world on websites now - much easier for their research - for great and interesting facilities to put Bond villains in." "And they came across the Eden Project, a British 2000 Millennium-funded project, one of the most successful projects in Britain at the moment, it is so popular." "But it is, effectively, three gigantic geodesic domes, the biggest one being 150 feet high from top to bottom." "We decided to use it as an adjunct to this set." "There is an ice palace, but you can't really live in it - it's too cold." "So we decided that Graves would have these giant geodesic domes next door, temperature-controlled, but diamond mines and full of villainy and lasers and all sorts of the usual gadgetry." "(Mochae/) He's going outside to show his stuff." "(Lee) To show off his benign space project." "(Mochae/) His philanthropic venture to help the world, and it's full of ecology and good things." "(Lee) lf you are not suspicious of this guy by now, you're in the wrong picture, folks." "(Mochae/) Yeah." "Complete with three North Korean heavies over here, watching." "(Lee) This scene was written as three "badly dressed" Koreans." "But I struggle to find out how badly dressed they were." "I think you have to look very closely at their awful bow ties to see." "When the costume department puts "badly dressed" in, it's a little difficult to spot." "In the modern era of vehicles in outer space now, most of it's digital." "It used to be models, and I think even in the Bond movies they were real models." "So this Icarus space project, all that is digital construction there." "But the first shot was a combination of John Richardson's models and some digital work." "It's much easier for the guys to do this as digital stuff now." "They've got far more control over it." "(Mochae/) "Let there be light." Well, he's definitely a villain." "(Lee) This is a digital model, this is real, but this has been digitally enhanced." "But David Tattersall, our DP, had to put gigantic lighting rigs on here, more light than has ever been used on any movie in British history." "He constructed gigantic rigs which sucked up so much power that you could only turn on two at once otherwise it would blow the electricity substation on the Pinewood lot." "David was like a kid with a toy, getting this many lights together." "It was quite nerve-racking too, though." "This is very difficult stuff for a director of photography." "When you turn the lights off, you still have to have light to see the characters, but it has to be balanced with the searing intensity of these giant Dinos, as they're called, after Dino de Laurentiis." "(Mochae/) Although this was on the back lot, it was pretty cold." "A lot of these extras we have, with their evening gowns on, are freezing." "We worked all night on this." "And this is the entrance to go into the dome, the Eden Project." "Had a lot of thoughts about how to introduce the car and use it to get in." "This was how it finally ended up." "The look of the car moving was something you worked on, special effects people, for quite a long time." "(Lee) It's tricky in that an invisible car, you can't not show it." "It is one of the conundrums of dealing with it." "You can show tyre tracks and all that stuff." "At times we had to show something of the car and at other times nothing at all." "Like this, you can see slight movements in the car as Bond gets in and out of it, just to give it that sense of reality." "(Mochae/) As if it were adjusting." "(Lee) This is a nightmare for a director." "You have to shoot this interior." "Bond looks through the window." "I had to shoot this shot first." "The rest of the set had not been constructed." "This shot here was shot later, and we had not constructed it." "So you have to shoot a point of view looking into something that you have no idea what the outside of is looking like." "They can become quite problematic, but you always get around it." "Now, this control mechanism gave us no end of heartaches throughout production, but I think we finally licked it." "It was the idea that we wanted a modular control unit that was gonna control Icarus." "First of all it starts off as a big suitcase, but it's heavy and cumbersome and clunky." "The villain wants it to be more adaptable and more ergonomic." "So as the story progresses he's constantly berating his henchman, the clever Russian henchman who developed it, to make it more ergonomic and eventually turn it into a more portable unit that you can walk around with and control wherever you are." "(Mochae/) This scene here, where Rosamund Pike - Miranda Frost in the film - gives Bond a cover, it was gonna be in a hot tub, and we'd actually filmed that." "(Lee) Yeah, we shot the scene, but it didn't seem to work with the movie." "It's an interesting thing that when the scene was written, it was never adapted over two years, from inception to production." "The script went through many other changes, but the one that was set in the hot tub didn't, and after we'd shot it, we found that it didn't quite fit with the tone of the rest of the movie." "So we actually reshot it and restaged it, and I think it's the better for it." "It's shorter and it doesn't contain some of the elements of frivolity the other one did." "What we were dealing with was a dangerous situation that then became quite humorous and frivolous, and it seemed a little odd." "(Mochae/) But Rosamund really came on." "It's interesting that during the time she was shooting this picture she went up and graduated from Oxford." "(Lee) That's right." "She couldn't believe it, being in a Bond movie." "Girls, gadgets..." "There you go." "It's all in one shot." "Girls and gadgets." "And this is the Eden Project here." "We went there and shot basically second-unit stuff, mostly with doubles here." "Halle wasn't even with us when we shot the stunt-double shots in the Eden Project." "And we didn't have time to take Pierce down there, so it's all a combination." "(Mochae/) It's also worked out really well." "In any film where you pause for the lovemaking, which is what we're doing here, the picture can slow down, but now we've got a parallel action sequence coming with Halle." "The whole pace of the picture keeps going." "I think the whole film has a good pace to it." "(Lee) This is amusing, this ice swan." "Peter Lamont was so nervous producing this ice swan for me." "He was more nervous about this ice swan than any other piece in the movie." "He kept saying "Are you sure this is OK?" "Are you sure this is not too much?"" "I said "Peter, this is perfect." "It's a Bond movie, come on."" ""An ice swan, it's outrageous."" "But the ice swan breaks away in parts, so you can film around the bed." "The wings split apart, the neck comes away..." "It's outrageous." "(Mochae/) You can get the camera in there." "(Lee) This is a great set." "This is a set that was elevated by Peter and his crew." "It's elevated above the foliage in this dome." "It's on a glass floor, for very good reasons, as you'll see." "But he's a beautiful designer, does great work." "(Mochae/) When we had our test screening most of the women figured out that Miranda was bent at this time in the picture." "(Lee) The women figure it out." "The guys never do." "The guys don't know until she's revealed." "The women figure it out well in advance, some right from the Judi Dench scene." "This next scene is one of my favourites." "This is so amusing." "This is classic Bond." "This was written as "a scene with lasers," "Iasers that are cutting diamonds in Graves's diamond mine."" "If you look closely, you won't see any diamonds or a mine at all." "What this ended up as is nothing more than a room full of lasers." "Try as you might to get story in there about diamonds and diamond mines, it ends up as a torture cell with a guy with diamonds in his face torturing our lead woman, who's strapped to a device, handcuffed." "Anyway, we had a lot of fun with this." "(Mochae/) These machines from Germany were fantastic." "(Lee) Hi-tech, very fast-moving, industrial robots which you had to preprogramme." "Very laborious." "You could change the sequence, but it cost us a lot of time if you changed the sequence." "This was a fun scene, both from a lighting and a dramatic point of view." "It is very evocative of one of the most famous Bond movies," "Go/dfiinger." "Having someone strapped down while a laser is imperilling you is one of the most memorable sequences ever from Go/dfiinger." "(Mochae/) The watch laser from Omega which has been in every one of the Pierce Brosnan films, I think." "And your friend, Larry, here." "(Lee) Lawrence Makoare is a friend of mine from New Zealand." "He's a very large Maori guy from New Zealand." "He's the chief orc in The Lord ofthe Rongs." "He's been in many movies." "The script said "villain"." "He's got about three lines." "We were trying to find a guy, and I said "I'll bring my pal up from New Zealand." "Believe me, you'll like him."" "Everyone went "OK." He was great at this." "This is a combination of a model - model ice, basically - and tank work with Pierce." "underwater stuffs always tricky for these actors to do." "They get infections." "The water supply's never as clean as it's supposed to be." "It's always tricky, and you don't want your actor coming down with a cold." "(Mochae/) But he was good." "He did that and then he jumped on a plane and went off to the European exhibitors' thing in Amsterdam." "(Lee) This is part of one of Peter's interior sets." "This is not the Eden Project." "Now that is, but this is not." "You dovetail all the stuff together." "(Mochae/) This fight has a slight bit of humour to it." "It has some tension and danger, but it has some comic elements to it as well." "Getting all these lasers right was a nightmare, with the special effects." "(Lee) This is all special-effects stuff." "You work it all out without lasers being there." "I now know what George Lucas goes through on Star Wars." "But when this scene came about, the death of Mr Kil..." "I always felt that what we needed for the death of these villains, because I'd grown up with these movies, you really wanted the villains to die in very spectacular ways, but not in a way that was bloody or really violent." "Something that my kids would love, they actually like a wonderfully gory death that isn't graphic." "Something spectacular." "The script said something like "Mr Kil is killed with a laser" or something." "It got me to thinking "How he should die?" "How should this work?"" "What you're about to see, the result of that, is I thought" ""What would it be like if we're looking at Mr Kil, and Jinx gets the laser and drills him through the back of his head and it comes out through his open mouth?"" "Which is kind of hilarious." "(Mochae/) The special-effects guys got the glow inside the mouth." "They worked on everything so lovingly." "(Lee) And it's so amusing, it's hard to find it violent." "We were a bit nervous when we submitted it to some censors, but even in sensitive countries like Germany, where they don't like violence, nobody seemed to question it, and it's just one of those fun things you do." "(Mochae/) Even when Halle slices off his arm." "(Lee) You can get away with so much in this genre, because it is a nod and a wink and some of it's very, very light-hearted, even though the actors are taking it seriously." "Yet if you were doing this straight and it was a straight, dramatic movie, you may not make the same decisions." "It's very funny when you come to do these things." "Like with the end of the movie, Graves and his Russian sidekick, the way they meet their demise." "It's always very amusing." "You've gotta have great death scenes for your villains." "(Mochae/) The kids all love this." "(Lee) lf you look carefully at Halle's outfit here, she's wearing her Modesty Blaise outfit." "When her character was written, I was always very keen to go back to a '60s novelistic character, who was very much similar to James Bond, called Modesty Blaise." "So Jinx tended to personify all those characteristics." "We've given her this very cool, leather combat suit." "Now here's the great office set with the glass floor." "This is the great denouement where, if you haven't figured out who this guy is, we tell you very clearly who it is, that it's really Colonel Moon from the beginning." "Bond needed to be incarcerated for 14 months so this guy, the guy who went over the waterfall, could actually survive, recover, go through DNA transplants, and emerge now as Toby Stephens." "(both /augh)" "(Lee) I mean, it's unbelievable." "I remember going "You don't expect me to believe this?"" "But it's so funny when you get to do these." "This genre allows you to do this stuff." "(Mochae/) And Toby plays it so well." "He makes it convincing." "(Lee) It's a great scene." "I really like this scene." "When the writers wrote it, they wanted it to be evocative of one of those old Cold War spy thrillers which we all loved so much." "You can't make them any more, with the end of the Cold War." "This confrontation between the two of them, which is very much a scene about reveal, betrayal, double-cross, is quite exceptionally well-written, and it's an interesting scene to put together." "I had to get the three actors together and they had to stand in various positions, cos the floor gives way and they go through it." "So you have to stage, dramatically, a sequence with people being in positions for an action sequence." "That's not always the best thing to do with a straight dramatic scene." "But when you tell the actors what the requirements are, they really like it." "They don't object at all." "They go "Just tell me where to stand and we'll do the rest."" "It's a testament to the qualities..." "Rosamund, Toby and Pierce are very, very fine actors." "They know how to do the stuff very well." "This is Rosamund's poèce de résostance, this Mata Hari in this one." "See where everyone's positioning themselves, including Zao, on the floor." "(Mochae/) Then Toby will get himself over, get out of harm's way when the floor goes." "(Lee) The sequence coming up was quite complicated because it's a real glass floor that breaks." "All the stunt people involved got a lot of cuts from it." "I was quite worried when I saw all this blood, but it was all surface cuts." "They knew they were gonna get cut." "You can't break glass without getting cut." "I said "use a fake floor." They said "How's anyone gonna stand on sugar glass?"" "And all the stunt guys said "We've done it before, we know what the risks are."" "It's quite dangerous, but they spent a lot of time working it out." "But it looks fantastic." "The effects guys blow the glass with detonation points, and the stunt guys have to go through without hitting the steel cross-members." "It's quite tricky." "(Mochae/) Rosamund rolled right into this position and shot." "She did a good landing." "And now we're off into the chase." "(Lee) Wall-to-wall action for the next 20 minutes." "When you write these, there's a graph of action and non-action in these movies." "We often agonised over that. "Look, we've been 15 minutes without action."" "It makes it sound as if it's a mathematically plotted thing." "It isn't." "But we all know we're gonna get massive action sequences in a Bond movie and you're just waiting for it, so this is the start of it." "This, I think, rolls on for something like 15 minutes, with very few breaks." "We now get into what is a big, Iceland, escape-and-chase sequence." "We had to be careful with this sequence." "Bond is escaping in an ice rocket." "You have to be careful that Bond is not running away from his objective, which is to free Jinx, his associate, who's been trapped." "So you get into the sequence, and then you've gotta get him imperilled very fast so he has to escape from a fate worse than death, rather than look like he's running away from danger." "Of course, these are the three Koreans wearing bad tuxedos the night before." "(Mochae/) And now we get to see what's really going on." "(Lee) lf you hadn't guessed by now, this is the malevolent side of Icarus." " (Mochae/) The big reflector." " It's effectively this laser from space." "But when you get down to it, it's a space-based weapon system that ends up being a ray gun from space, no matter which way you look at it." "(Mochae/) We're coming up to a big visual-effects sequence." "These shots involve model and CGI effects." "And then we have second unit with CGI effects." "And these are really all under the guidance of Mara Bryan, who's a visual-effects supervisor." "That's a great shot there." "Again, a combination of real and CGI effects." "We get into a fairly digital world from here on in." "This environment only exists pretty much in our imagination." "It's a combination of Iceland, computer-generated... (Mochae/) Greenland." "(Lee) Greenland, and the back lot at Pinewood." "And this giant ice wall that Peter Lamont built in the studio." "All of this here is Pierce." "The stunt guy does not do any of this on the wall." "Pierce is a trouper." "Normally you would not put your actor in this environment." "But Pierce is a great trouper." "I said "We're gonna see you."" ""I don't wanna use the stunt double because we have to hide his face."" "He understood what was required there." "It's very tough for him." "He's gotta be hanging on wires, but he really got into it." "(Mochae/) This is several days' work." "(Lee) This entire idea was based on something..." "I was scouting another movie in Canada five years ago." "I was with my line producer at the time, who is actually a close friend of Pierce's." "And we were both flying in a helicopter underneath glaciers like this, when we saw a big, gigantic chunk fall off and set off a pressure wave like this, and send it rolling across the bay." "We both said "This is like a scene out of a Bond movie."" "So it was very odd, because when I came onto this film, this sequence was not in it, and in fact it was not anywhere in the script." "I remember proposing it as an idea to Michael, Barbara, the writers and to MGM." "We all thought it was a great idea to ramp up the sequence, which was really Bond just escaping in an ice rocket." "It'll be funny for Lloyd, Pierce's friend, my line producer at the time, to see this." "(Mochae/) And this is state-of-the-art stuff." "People haven't done water in sunlight." "If you notice, all the pictures where... (Lee) Where they do digital water." "They do it at night." "(Mochae/) It's all at night or when it's raining, but here we have sunlight." " So it took a lot of RD to get to this." " (Lee) Huge amounts of RD." "They did five months of research and development." "They had to write code and pretty much write the software for the movement of objects, like ice in water, in order to then start constructing that digital world right from the ground up." "(Mochae/) We get into... (Lee) Now we know that Rosamund is evil, we wanted to set up the two women as a contretemps, to set them against each other, to lead to the inevitable finale," "so that at the end of the movie we have both our heroes working in tandem against both our villains." "We were afraid we would be left with Bond fighting his usual battles at the end, with Jinx having nothing to do, so this is an elaborate setup to enable us to get to the end of the movie," "where both of them can have an equal weight, if you will, in sorting out these guys at the end of the movie." "(Mochae/) So Bond's heading back for Jinx." "(Lee) Here we introduce our Antonov, the world's largest transport plane." "That's a model shot, of course, but it is a giant Russian transport plane." "The Americans have one just as big, the Galaxy Starlifter or whatever it's called." "We went into production with a different ending on this movie." "It's very rare to get into a project of this scale and size and to change the end of your movie while you're shooting." "It caused a few heart palpitations, but once we had the Antonov" "I said "Wouldn't it be good to get away from the usual ground-base facilities and go airborne for the end of the movie?"" "As you see, when you get to the end, we introduced the Antonov in order to set up the end of the movie." "I think it worked out very well." "This is our invisible car, of course." "Bond pulls it out of where he left it the night before, with the intention of going to rescue Jinx, but, of course, he's headed off." "(Mochae/) An invisible car - somebody can run into it not knowing it's there." "While he's taking off his sweater... (Lee) Don't try this in your real Aston Martin." "You don't have these gadgets in the standard version." "This is the beginning of our car chase." "This was great." "When we put the cars together a year ago, in product placement terms, you're told "There are Ford cars in this movie."" ""We're getting a lot of them, so we want all the cars to be Fords."" "You go "Can't we have something else?" But you look at the enormous range." "Ford own Jaguar, Volvo, Aston Martin, Range Rover, everything." "So I said "The Aston Martin - we've gotta have some car to go up against it."" "Peter Lamont, Michael and I went down to Jaguar to have a look at what they had." "We eventually just settled on the XKR, which is their production-line model, and I chose the convertible, which is ludicrous, in Iceland, to have a guy in a convertible racing around." "But the hard-topped XKR looked somewhat similar to the Aston Martin and we didn't want any confusion." "That's when we started gadgeting up." "We gave the XKR even more weaponry than the Aston Martin." "It's got an electronic Gatling gun." "It's got everything." "It's got rockets." "This is something I wanted to see the Aston Martin do." "I asked Vic Armstrong "How fast can an Aston Martin drive backwards?"" "He said "If we change the gearing on it, it could go back very fast."" "So that represents a fast handbrake turn to get the Aston Martin to turn round and drive backwards." "But the Aston Martin can't handbrake turn because of the ABS braking systems and anti-skid devices." "So all the skidding and turns are done by Chris Corbould's special-effects Aston Martins, built in his workshop, which are actually the shells of Aston Martins, but inside them they're all four-wheel drive systems and completely rerigged." "They took them six months to build." "They flip them, roll them, slide them along." "(Mochae/) This is using the old ejector seat." "This is a loving homage to Go/dfiingerand the ejector seat." "We wanted to figure out how we could use the ejector seat in a modern way." "I don't know who came up with this idea - it might've been the boys that wrote this." "Bond is blown upside down by a rocket, and then you use your imagination - if you use the ejector seat, it's got enough force to flip you back over." "(Mochae/) Just to say a couple of things about the location." "This is up in Iceland." "And this lagoon opens out to the ocean through a very narrow bay." "And what we did is, when it froze up we dammed it up completely, so that we couldn't have the tidal surges." "And then we, luckily, had the coldest February in 60 years, froze this thing solid so that we could go up in March and film it." "To the last minute we weren't sure we could do it." "(Lee) It was one of the most hair-raising parts of the movie." "On a location scout I asked the guys had anybody ever put cars on the frozen lake?" "They had in a stationary position but they'd never raced vehicles, almost like it was too dangerous." "Well, now, this represents, really, the high point of the action." "This is a Vic Armstrong sequence." "Vic did extraordinary work on this." "These poor guys spent two months inside this ice palace, or at least six weeks, every day with rain pouring on them and screeching tyres and all this stuff." "It's very difficult to do all this stuff and it has to be very carefully plotted out." "There are elaborate storyboards done and a whole sequence of events has to be worked out for everything that goes on, and then we let loose the second unit on this and they go to town." "I may have shot two or three shots, just the actors in their cars." "This is a testament to what Vic does best when he gets his teeth into this, all these cars exploding, crashing." "I'd been doing all this stuff with Halle in a sinking room built by Chris Corbould." "While I'm out shooting the actors on another stage," "Vic'll be in here for days and days doing all this stuff." "(Mochae/) Halle's a real trouper." "She got in that water and it wasn't all that warm." "(Lee) Tricky stuff." "We were all in wet suits getting underwater with her." "This is what I was talking about earlier." "The culmination of finishing off the car chase and wrecking everything in sight and getting to a point where Bond can outwit the villain, using a bit of cleverness and using the invisible car in one last moment, and really using the Aston Martin to the greatest effect possible." "The great thing about this sequence is that both cars are equally matched and it doesn't really devalue the XKR." "It's actually about who's the better driver, not who's got the better car." "This is a ridiculous idea of mine about two big pieces of steel that stick out the front." "What are they doing there?" "Why doesn't he just shoot him with rockets?" "It's just a battering ram to punch the guy straight through the middle." "But this is a great piece of Chris Corbould special effects." "That's a car projected from an air cannon from a standing start to 60 miles an hour in half a second flat." "(Mochae/) Now you know why we have the tank, why it's all built on a tank." "(Lee) lf you were in that car, it would snap your neck." "The G-forces are so intense, it's like a rocket taking off." "That's the way they do things these days." "They do them with precision instruments." " Extraordinary stuff." " (Mochae/) That's the end of Zao." " A lot of red dye down there." " (Lee) Yeah, that's right." "I was gonna have him eaten by a killer whale, but that was one of those ideas that disappeared." "Earlier in the movie we'd have to show him being mean to a killer whale." "Now we're on board the Antonov, and that sequence in there was a gymnasium for Miranda and Graves's sword-fighting gymnasium." "This was a very complicated piece to do." "It's quite bizarre how long it takes for water to pour out of a room like this." "Having stunt people and Halle exposed to this level of water is quite tricky." "We had to break front windscreens, pull people through, get the car out of there... (Mochae/) And then we used the set to revive her, which was the one that was the love scene." "(Lee) This is another classic piece that Vic and his boys did for us." "It's storyboarded, but they did a great job ofjumping the car out through a real set." "That car can't slide like that, so they had to put down a concrete pad and use a four-wheel drive Aston Martin in order to create a 180-degree skid." "(Mochae/) Pierce really does a great job here." "Kinda brings out a bit of emotion." "And this is, in a way, where the two people, I think, form a bond, right?" "(Lee) Right." "(Mochae/) And especially with the laugh." "This was where we had the love scene with Rosamund that we shot earlier in the film and never used, so we ended up using it there." "(Lee) These are all American Chinook helicopters." "I think they're leased to the British government." "It was great to have all these available to us, to use them as a location for a giant South Korean sequence." "Peter Lamont has an instinctive understanding of the requirements of the script." "I remember saying "These sets are huge."" "He says "There's no such thing as a small set on a Bond movie."" "He built this giant, underground tunnel on a sound stage." "Peter was very pleased, because lf you look in that direction, this is the reverse direction and I've just utilised the set twice over in order to give it more distance." "That's just one of those funny things you can do with a really good set." "Peter is so good at designing these things." "All these sets like this have breakaway walls and ceilings, roofs." "Everything comes apart so you can move around with great ease into what are essentially military command centres." "We're now back in South Korea, and this is what we call our "break in the action", so we can get a bit of breathing space before the end of the movie." "You have to give people some time to recover, move the plot along a little further, have a bit of a breather and then go straight back into it." "If you look at the end of the movie, it's wall-to-wall action." "This is one of the rare scenes which actually divides the action." "(Mochae/) And we're gonna get into the switchblades, these devices that are kind of in an experimental stage at this point, but probably will be used in the future." "They're little glider planes that parachutists can use to cover long distances." "So they'd be perfect for gliding into a place that you wanna infiltrate." "(Lee) They're kind of disposable aircraft." "They're aerodynamic." "You can go 200 miles an hour in them." "You're falling, but in a glide pattern." "A lot of this is all special effects." "These things, we can't fly them, and we did them as a special effect because it was quite problematic to get people up in the air on these." "(Mochae/) We go back into outer space with some more of John Richardson's models, when they come round to try to whack the Icarus." "You came up with that name." "(Lee) Icarus was a name from Greek legends, but if you examine the name, you'll find it's about a guy who sails too close to the sun and dies, so it's probably more appropriate than we'd like to think." "(Mochae/) It's right on." "(Mochae/) Of course, that's a great actor there that you underutilised." "(Lee) For sharp-eyed Bond fans, the shots of the missile taking off from the ship are actually lifted from Roger Spottiswoode's movie, because we didn't wanna spend money building model ships." "I just said "Can we lift a couple of shots from Roger's movie?"" "And so we just did that." "The missile, though, has been reanimated, because that was about five, six years ago when that movie was made." "We didn't want the same missile." "It's fun." "There's a few sharp-eyed fans that'll spot that type of stuff." "This now represents, as I mentioned before, where we changed the entire direction of the movie." "This whole sequence used to take place on the ground." "As we went into production," "Peter and all of us were still struggling with what kind of ground-base facility." "(Mochae/) We had gone to Japan, to that indoor beach." "(Lee) There was a giant, real indoor beach." "Only in a Bond movie." "But it threw up a host of problems that we couldn't quite lick." "The more we moved along, I suddenly remembered that the writers had written a sequence with a very small plane, that Bond and Jinx were on, that broke apart in midair." "It was like a Learjet." "And that scene was removed from the movie, because of lots of complicated reasons." "And when it disappeared, I suddenly thought" ""What would happen if we revamped that but in a much bigger fashion?"" "That's what this became." "It was a testament to the production team, certainly the Eon production team that make these movies, that they were able to swing into this while we were shooting - very dangerous, cos there's so much money and time involved." "The special-effects crew and the art department have to then change tack." "While working on the movie they have to have teams of people working on a new set, which this represented." "These are all hydraulic sets." "The various parts of this plane tilt forward, left, right." "This place is gonna go into dives, it's gonna blow up... (Mochae/) This is about 20 feet off the floor and it can pitch about 35, 40 degrees." " It's all bluescreen outside." " (Lee) We needed a scene for this." "Bond and Jinx were going to confront the villains at the end of the movie." "We also had an unusual scene here, which was a scene of high intensity and dramatics that was very unusual to have at this point of the movie, where the son confronts his father." "The father doesn't recognise him cos he's, of course, a different character." "It's a scene quite laden with pathos, really." "It's quite an unusual scene." "It does not have Bond in it or any of the other characters." "It's between the villain and his father." "I'm very pleased with this scene." "I think they did a great job on it." "All this we were gonna shoot on board a real Antonov, in the hold of it, until Peter - bless his heart - said "We need to build this."" ""On a real plane, you won't be able to do the things you wanna do, in terms of putting cameras in certain places, blowing things up."" "(Mochae/) Have the side of it come tearing off." "(Lee) When things got very tough and the plane started to peel apart," "I wanted a lot of fire and to see the plane peeling apart in front of them." "Peter figured the only way to do that was to build it." "His instincts are always correct, as usual." "(Mochae/) It's quite tricky, when this goes into a dive and then all the action starts, the way the Icarus looks, how it looks out the window." "A lot of coordination between the special-effects models and the principal photography." "(Lee) We wanted to have some gigantic pyrotechnics." "The pyrotechnics happen on the ground while we're up in the air, which made it more interesting, rather than Bond being amongst it all." "The DMZ, the demilitarised zone between North and South Korea, was the perfect place for this." "It's the most heavily mined location on the planet." "(Mochae/) It has one million land mines." "(Lee) Several hundred thousand men staring at each other across a million mines." "It's the most highly sensitive..." "Apart from Kashmir." "Kashmir and North Korea." "(Mochae/) This explosion here was done by... (Lee) By the action unit and Chris Corbould." " (Mochae/) I think it's the biggest..." " (Lee) Biggest one he's ever done." "(Mochae/) And probably the biggest one ever done in England." "It was huge." "(Lee) And you allow Chris Corbould loose on something like this, he's like a kid in a candy store." "It's very, very dangerous." "Having guys this close to so much of that exploding hardware is very, very tricky stuff." "These guys have to work it out and test it time and time again, because once they set off all those explosions they can't stop 'em." "All those stunt guys have to know what they're doing and have to know exactly where they're going, cos you can't stop it." "Most of that, though, is all digital." "The interesting thing about this environment, you can start placing these explosions and exteriors from an interior like this wherever you want them." "Whereas once upon a time in this genre, you would have had to build a model, with exploding minefields, and then shoot it as a plate, and then you would have to do it as a composite or a rear projection." "Halle now has a change of costume." "We really wanted to toughen her up amongst all this." "She's punching guards and fighting with swords." "She really came into her own on this stuff." "I thought Halle had done far more action than I'd been led to believe." "When she came to us on this movie she hadn't done quite as much as I thought, but she really loved it." "It was like being in a boys' movie, where she could get to fire guns, have sword fights, punch guys, and still look very cool." "(Mochae/) This is a fairly dramatic scene for a Bond film, for any action-adventure film, really." " Having a son kill his father." " (Lee /aughs) Yeah." "(Mochae/) Very oedipal." "(Lee) Yeah, yeah, yeah." "And now Graves is wearing what has come to be known as the RoboCop suit, but it was always designed that way, as I said before, this work-in-progress, ergonomic piece of control mechanism." "What we wanted to do at the end was have Graves be in a formidable outfit, so Bond couldn't just fight in hand-to-hand combat." "He had the ability to electrocute anybody around him with this suit and also to be armoured." " (Mochae/) This decompressurised stuff..." " This was tricky." "Guys flying out windows, stunt guys on wires, and bluescreens and stuff." "(Mochae/) Set tilting, wind coming through." "(Lee) Days and days of work." "(Mochae/) Halle in her..." "This cockpit tilted too, although we didn't have to do as much work with it as below." "(Lee) The unsung heroes of these movies are units you're often not aware of." "All these close-ups are shot by an insert unit who worked to very detailed storyboards often." "And I worked very closely with them." ""I need a close-up of this, of that..."" "And then you've got an aerial unit, an underwater unit, an action unit, a main unit..." "There's sometimes six of these units working side by side." "It's just enormous." "You end up watching hundreds of thousands of feet of film to make sure everything fits together." "It was extraordinary by the end of this movie how much on target and on schedule we'd stayed." "We got everything we wanted and didn't have to do any reshoots at all." "This is something we devised." "We wanted to have this confrontation, as I said before, between Bond and Graves and Jinx and Miranda Frost." "So in one part of the plane the girls are fighting, while in the other part the boys are doing their own bit downstairs." "We figured if Miranda was gonna be an expert swordswoman, she had to have the upper hand here at all times, cos Jinx is very proficient in hand-to-hand combat and with weapons." "So Miranda will always have the upper hand with a sword in her hand, until Jinx, of course, lays her hands on a couple of weapons herself." "(Mochae/) And then, of course, we divert this into the Icarus beam, so the whole plane now gets... (Lee) It was very important." "It's a little implausible in some ways, but we wanted to fly the plane through but not blow it to pieces, just start tearing it to pieces so that you would have a plane that's self-destructing around our heroes while they're fighting." "This is a great shot of John's, the model shot." "It's shot at about 250 frames a second, as all these mines explode in what is a small fifth or sixth-scale size... (Mochae/) This stuff is all good, too, the way stuff blows through." "(Lee) There's four different sets at work going on here." "There's a cockpit set, this set..." "This is a digital plane." "(Mochae/) And these actors..." "Those are big gas jets shooting right behind them." " (Lee) Very tricky." " (Mochae/) It's very tough." "(Lee) You've gotta have firemen and safety guys standing by." "Anything can go wrong." "You're on a confined set with fire and actors." "It's very tricky." "We have a series of procedures and safety procedures." "There's a very thinly disguised reason for Halle to take off her top, so she could grab these swords." "Ostensibly she needs more flexibility and movement, but we thought she looked smashing in this combat outfit." "That's the way it goes." "And she does." "(Mochae/) Now he's got his power suit on and Bond has to fight him." "(Lee) It's a little tricky." "I said "Pierce, you gotta get rubber to stay away from him."" ""If he gets hold of you, he'll electrocute you."" " (Mochae/) Halle and Rosamund did well." " (Lee) They did great work on this." "I wanted to disadvantage Halle a little by giving her two short swords to Rosamund's rather large sabre." "So Miranda would have the upper hand at all times, but they could still be kind of equal." "(Mochae/) There Bond gets electrocuted." "It's good to have these parallel actions going on." "I like a stunt with a lot of hand-held and a lot of shaking." "The whole set's shaking, wind's blowing..." "(Lee /aughs)" "(Lee) The death of Miranda was always a favourite of mine." "(Mochae/) Through The Art of War book." "(Lee) You gotta kill your villains in interesting ways." "Rather than just stab her with a sword." "It's always interesting to come up with some amusing little way of doing it." "It makes it that much more enjoyable." " (Mochae/) Bond is in a lot of trouble." " Bond's now taken 100,000 volts." "There's only two parachutes on the plane - don't ask me why." "He throws one out the window and keeps one for himself." "We had to make sure that, after this, Bond doesn't have access to any parachutes." "(Mochae/) We had a lot of different proposals for getting him off this plane." "One was to have a helicopter pull him off." "(Lee) We were gonna bring him out through the front of the plane." "I actually reckon it was you, Michael." "Michael was always adamant - and I think it's a good decision - that the heroes should save themselves rather than be saved by others." "It's a fine distinction sometimes, but it was the right decision." "It allowed us, when we get to the next piece, to have yet another nail-biting sequence, which we wouldn't have had otherwise." "(Mochae/) Mike, who does all the aviation for us, said "We could fit that helicopter in the back of the Antonov."" "(Lee) I always love this bit." "Where Graves goes into the engine." "Another one for the kids." "It's one of those things that kids love." ""The villain got chopped up."" "(Mochae/) The icing on the cake was the special-effects guys, visual effects, who put all the flames in when he goes in." "(Lee) Now we're into the last phase of the movie, with Bond and Jinx trapped on a flaming plane." "How do we get them off this thing?" "And it was either Michael's idea or the writers' - someone said "What if they were on a helicopter that couldn't start?"" ""How do we then get them out of the back?"" ""Let's put a Lamborghini and a Ferrari in there so we can throw those out as well."" "Just to be very dismissive of Graves's cars." "This is Peter Lamont's set, and Chris Corbould, special-effects supervisor, going completely nuts." "It was my suggestion to say to Peter Lamont" ""I think we should have a conveyor belt."" "That way we get rid of the cars, and there's a race against time." "The conveyor belt has to get rid of the cars in order to tip the helicopter out." "These are all digital shots, of course, of the plane." "This is a real set, and the actors amongst real flames, and the plane peeling apart." "There's no stunt work at all by anybody, this is Pierce and Halle all the way, in a very controlled environment with a lot of nervous firemen around, as this whole set strips itself away and blows to pieces." "This is second-unit stuff, action unit." "Vic went in and blew the place to pieces, after we'd done our work with Halle and Pierce." "It's a fantastic set that Peter did." "He's got such great instincts when it comes to this." "He's been there since Go/dfiinger." "He was a draughtsman on Go/dfiinger." "He's been working with Ken Adam." "He's now done, I think, 1 1 of these." "(Mochae/) Yeah." "His first job was to draw the Aston Martin with all the gadgets on it." "This is a very interesting combination of digital effects and a live set." "These reflections on the front of the helicopter are not there." "We shot this helicopter without a front windscreen." "The visual-effects guys put the windscreen and the reflections in later." "It's easier for them to do, rather than us to shoot through a windscreen where we don't possess the reflective qualities." "And that's one of the things you can do now with digital effects quite easily, which is quite a godsend for someone like myself, struggling to get through the working day." "This little amusing aside here with the two cars was never quite resolved the way I wanted it to." "I had this idea "What happened to the two cars?"" "I thought we'd stick them in a rice paddy and have a glimpse of them as the chopper pulls out, and some rice farmer's got a Ferrari and a Lamborghini stuck in his rice paddy." "It's just one of those amusing ends." "(Mochae/) With a little joke here." "(both /augh)" "(Mochae/) We got this transition here." "(Lee) ln order to get here, which I think is one of the great all-time fabulous endings of a Bond movie ever, and it was written overnight by Rob and Neal because we had many endings here." "This is a pre-ending, a double take." "There used to be many of these." "When they wrote this and presented it to us, we all thought it was inspired in its sheer simplicity." "I think every fan of this movie will just love this scene so much." "It is what people have waited for all their lives. 40 years people have waited." "And I think Rob and Neal are extremely gifted to understand that and to be able to create this for all those who love this genre." "I read it and it just knocked me out." "(Mochae/) All the purists would say "You shouldn't do this."" " Of course, we don't." " (Lee) No." "Of course." "(Lee) It was just a great scene." "We shot it on the second day." "Everybody was crowding round the camera to watch this." "You'd never seen the likes of this before." "The idea that Moneypenny gets her man..." "People, when they see this for the first time, go "But you can't do this."" "(Mochae/) It's supposed to be sexual tension." "They're never supposed to kiss." "(Lee) Then, of course, it all becomes revealed." "It was such a great light-hearted way to do this." "But we needed to build time between Halle and Jinx in their helicopter and this." "That's why we have this big crane shot on the bridge coming up to Ml6, giving ourselves time, typing on a computer..." "Then, of course, in comes John Cleese." "I just love this so much." "(Mochae/) He's so good at this." "(Lee) He said "I'd better have a gadget to screw around with like a weird inventor."" "While Samantha Bond... (Mochae/) Then he just cottons on to it here." "(Lee) This theme music here, written by David Arnold, I beat David up over this." "I handed him an impossible task, because when we put this movie together we put temporary music on it in order to show it to an audience." "I put on John Barry's famous theme from You On/y Love Twoce, from 1968 or 1969 or whatever." "And I almost wanted David to rescore it." "But he took it, and it's very evocative." "He's made it almost John Barry." "It's a great piece of modern John Barryish David Arnold." "He's done a fantastic job of seamlessly weaving this very traditional Bond ending into the movie." "But we struggled to find the end of this movie." "How could you top the Moneypenny scene?" "We had 15 different drafts." "We had so many different endings to this." "In the end we've got diamonds, we've got a pretty girl, we've got Bond." "Let's just put them on an island somewhere, with a helicopter and diamonds, and let them go at it." "I think it's a great little scene." "David lit it beautifully." "(Mochae/) And they both play it well." "Halle's so good." "Pierce is right in his element here." "(Lee) It was an interesting thing about the choice of music here." "We had a few options to choose from." "Even David put together a compendium of pieces of music from the movie." "It was interesting." "There was a lot of remixes done of the Madonna track." "This one, this Dirty Vegas mix, I thought it was very good." "It was a very up-tempo, a very fun, almost hip-hop way to get out of the movie, and just leave people with a smile on their face." "It had quite a nice drive behind it, and when you get right to the end, and we sign off on the final titles, one of the music editors just left on a little piece of Madonna cracking up in the studio," "and saying "I'm so tired I need to sit down", because she had just been doing stuff with her engineers and..." "It was just fun, even in the last frame of the film, to end on a funny, uplifting note." " (Mochae/) Anyway, it was great." " (Lee) Yeah." "(Lee) As Madonna says, I'm pretty tired." "I think I wanna sit down." "Ripped by thewildbunch22"