"It is like no other acting job." "You do need a certain chutzpah to step up every morning and confront this monster." "With this new Bond,  as it's its 40th anniversary, there are some new things never before seen." "(Brosnan) Everyone said this was the toughest film that they've worked on just cos of the whole scope of it." "(Stephens) You wanna try and bring something new to the game and not fall into any sort of set clichés." "I'm getting letters from people all the time, Bond fans, and that's another of the huge responsibilities that you want to live up to." "You do always go back to Fleming." "The James Bond character is so complex." "You can hide in your trailer if you want and let the other guys set up the shot, then come out and do the shot, but I don't think that's how to make a Bond picture." "I think Piahi" " Jaws" " Maui is the pinnacle of big-wave surfing." "It's only natural that they come here and pick Jaws because it's the most dangerous, biggest barrel in the world and that just fits their script fantastically." "Jaws is a dangerous spot, you know." "It can be extremely dangerous." "But it's so dependent upon how the wave is breaking." "I mean, a few feet underwater can make all the difference in the world." "You can either get a ride back to the surface because you get in a pocket where the water's going up or if you're a few feet to the wrong side you can get in a current that's going down" "and you might not see the surface for a long time." "I was fortunate enough to be approached for this Bond project." "When you look for the world's best surfers you find them." "The fraternity knows them." "They wanted to do a segment for the film with big-wave riding in." "My friends and I revolutionised big-wave riding." "We discovered a technique where we use jet skis to actually tow us onto the wave and that allowed us to ride the biggest waves ever ridden." "We had them in meetings and made sure they knew everything that was going on." "Wardrobe fittings, how the night-vision goggles would fit to vent so the water would come out and not restrict vision, how we would attach rubber guns to a camouflaged wet suit that was designed and made for the shoot." "Then we had storyboards, which they had to meticulously follow, and we left it to them to realise those elements of it." "In terms of filming, the waves are huge." "You've got spray coming off the waves." "The waves are so big they block your view of what's coming next." "You come over a swell and all of a sudden there's a giant wave with the guys on it doing their thing." "So you really have to be on your toes." "It's not about putting yourself in a bad situation." "It's about using the camera to make it look like you're in a more serious position." "On the storyboards, I see a wish list of images that they want to take place and I think us as cameramen need to use our instincts to do what we already know how to do and think of the images that have to be created from it." "It's part documentary and part feature film because you can't control what they'll do." "You just have to use your camerawork to get those images the director wants to put in his movie." "We'll try to get as close to the most critical part of the wave as we can, which is the bowl section, I think is the most spectacular part of the wave." "So we'll be right on the edge of it, really, in a relatively safe situation but it's a real thrill." "We have two cameras in the water." "I'll be on a jet ski and Sonny will be in the jet-boat and we'll have another camera in a helicopter." "So each angle is a very dynamic angle." "We have a lot of technology that we're applying with the jet-boat and the gyrostabiliser." "I'm gonna be trying to get more tight stuff like using the lens and the gyrostabilisation to get us some smooth shots." "The camera's housed in, like, a waterproof bag." "There's still a lot of valuable equipment." "It would definitely be in the water if it went over." "It's pretty difficult, huh?" "To launch." "It's all timing." "(Miller) I think if the guy's down, forget the shot." "If he's in a bad way we're going in." "We won't wait for anything." "And really you only have 20 seconds between waves so you really can't wait." "When a guy goes down he spends between 12 and 15 seconds underwater and 15 seconds is a long holddown." "When he gets up there's five seconds for you to get him before the next wave." "You never see three guys on a wave out there, never." "So the reason they don't do that is because there's not as much room for the surfer to manoeuvre." "(Kalama) The costumes make it more difficult." "They restrict your peripheral vision." "It makes it hard to see other surfers." "You can kind of see what's going on, but you know the other two guys are there but you don't know where they are exactly." "So it kind of restricts the movements that you can do surfing." "The pilot's able to put us close enough to get wet from the spray." "I come onto jobs like this and there's so much enthusiasm, it's like riding a wave." "You're picked up and you just get so jacked up and so excited, it truly pushes everybody to the limits." "It pushes the surfers, it pushes the photographers, it pushes the safety people." "We did a couple of wipeouts where we'd run along the lip line and lift into the air and we'd be thrown into the abyss with all this white water." "(Tamahori) Surfers don't like to fall off waves." "The story has two guys falling off and one guy making it." "It was very difficult to get the guys to fall off these waves, not only because it's dangerous but because they don't like to." "They're not conditioned to do it." "It's not in their bloodstream, if you will." "We may have gone out knowing we were shooting a picture but instincts took over." "They were surfing in those costumes and it was our obligation to visualise the shots we had to accomplish and accomplish them." "It's a religious experience to be in the presence of the power of these waves." "On Earth it's one of the few times that you can really see the power of God." "If we've achieved part of the opening sequence of the 20th James Bond film and it looks fantastic and people come out of the theatre and say "Wow", then we've achieved something." "ENHOH" "The hovercraft sequence represents the first major action piece of the movie." "It is the piece that opens the movie." "In time-honoured tradition, then you cut to the titles." "Usually they get more and more spectacular." "But the most interesting thing about it is, it is not a pasted-on pretitle sequence." "It's very much part of the whole movie." "Action, Vincent!" "Bond is sent into North Korea essentially to assassinate a rogue North Korean army officer, who's out of control and running guns for diamonds." "While there, he gets betrayed." "He gets hung out to dry." "Gunshot." "Bang." "He starts running." "Onto the tail." "Bang." "(loudspeaker) Nobody runs into shot." "Chris will cue the fire department in." "Nobody else goes in till that happens." "OK." "Shooting now." "Turn on now!" " Rolling." " Here we go." "And... action!" " And cut!" " Everybody all right?" "That was no joke." "That was the "put your whole heart into it so you stay alive" shot." "What does it take to act in a Bond movie?" "You need balls to do what he does." "Which is get up every morning, run, jump, hang upside down, fall about, pretend to make love to a woman you've never met and you meet on the first day." "You gotta do all this stuff." "And it is not the stuff that actors usually get into this profession for." "They get into it to act." "And the Bond movie is about acting, but also it's about action." "And it's about this kind of..." "It's this unstoppable machine where..." "Pierce, sometimes he'd wake up and go "What am I doing today? "" ""You're looking over your shoulder, the thing blows up and that goes here and..."" ""OK, I'll do that." And every one of those things he has to be sharp on." "He can't be dismissive of anything." "He can't go "Oh, no, I'm a bit tired now, I think I'll do this one half-heartedly."" "You're in front of the camera, and how do you make it look like it's just effortless?" "And some days you're graced with that, and some days it doesn't come that gracefully, and you have to... creak it in there, push it in there." "They're enormous pieces, and there's so many people involved." "This isn't his first one, obviously." "You just gotta point him in a certain direction, and he'll do things his own way, as he's done 'em in the past - very aggressive, very gung ho." "And he does it all-he's leaping and jumping and rolling around the ground." "The fact is, these films are very physically demanding on the actor playing Bond." "And I mean, Pierce does a lot of his own stunts, and he's very athletic." "And as we all know, athletes take a real pounding." "So, you know, things do take their toll." "And he had a knee injury and, you know, he was fantastic about it." "Well, it was a bit scary, because I blew my knee out." "I blew my meniscus." "And that just about did my head in." "Because, here we are, we're at February, and it was on the back lot of the studio." "And it's where Bond is captured." "He's about to be shot." "All hell breaks loose, and he has to make a dash." "He finds a way out on a hovercraft." "It's a 200-yard dash." "They'd set it up for about three, four hours in the morning." "It was around 1 1 .30." "And I didn't warm up and I just went for it." "You feel guilt. "I've blown it here."" "You know: "Production's gonna close down because of me."" "So you have to get your head around that one." "He was fantastic about it." "As soon as we could have it taken care of, he had it taken care of." "And he was almost bionic in his recovery." "Saved by the bell." "(Brosnan) It's great to be out and about." "Pinewood gets cramped after a while." "Everyone's chomping at the bit." "So this is it." "Aldershot, mate, you know?" "Gone are the sunny beaches, the cocktails." "Bloody Aldershot!" "But it's good." "It's nice being with Vic, Vic Armstrong, and the action-unit boys." "We're doing this sequence on the old hovercrafts." "Trying to look as if I know what I'm doing... as usual." " In front of Bond?" " No." "You got Bond, then the baddie." "Another day." "Die another day." "Do this with Bond in foreground, wide." "And then we move up there." "We're shooting the opening sequence, which will be the pretitle credit sequence, which is the hovercraft chase." "Vic has all the fun." "I end up shooting in overheated studios with the actors." "That's the joke." "But it's also the reality." "The main unit shoots the actors, and we have to shoot the drama." "We shoot some small-scale action - fist fights, shoot-'em-ups, things like that." "Or Bond runs down a corridor, walls blow up behind him." "Stuff like that." "But when it gets into massive action - involving vehicles, aircraft, underwater - that's when the action units come into it." "(Armstrong) We started at Moon's compound, which is at the studios." "The gate you can see behind me is our linking piece of set work, if you like, that'll link the long valley, here in Aldershot, with the studio, where Bond has stolen the hovercraft and is escaping, chasing Moon," "with his big hovercraft full of munitions." "I'm suspicious of them." "I didn't like them." "They float and they have no traction." "You can't turn them fast." "They don't corner like vehicles." "They float on air, so they steer very oddly." "They don't steer at all." "You can't turn them on a dime." "They don't even go in a straight line." "They seem to drift, cos they float on air." "They have a huge drawback - they can't go up slopes." "They slow down." "So they're only good on flat ground." "So in terms of designing the chase, we had to pull out a lot of tricks to make it look more exciting than it is." "(Armstrong) They might lack speed, but we can manufacture that in the camera." "These are perfectly designed to undercrank." "There's always smooth lines and smooth movements, so you get no fast changes of direction." "All the guys driving them are my guys." "They've been training now for five weeks." "They're really good." "They can get them very accurate." "But they are strange." "You think they're out of control, but they're actually being driven in that way." "That's how you drive them, which is almost sideways." "You go one way, and then you have to think about three turns ahead." "But I do think it's interesting-Iooking." "There's something alien about the way they do slide." "This thing rips your head off with noise." "It's a living." "Look at the shit fly." "That's great." "Scree's going everywhere." "Amazing!" "You can never get me." "ENHOH" "(woman) 1 1 7B, take three." " Who's bankrolling your makeover, Zao?" " (Zao groans)" "He got this tip in Hong Kong about this gene therapy clinic." "And Zao is supposed to be here, and Zao is the man that he wants." "My character goes to a clinic in Cuba where he goes through a process where he changes his identity." "But in the end it's thwarted by Bond." " G, take two." " Action!" "The diamonds were pretty unique." "You know, a throwback to what the escapism of Bond was." "It goes back to, you know, the days of Jaws." "There's some sort of distortion to the physical appearance." " We got it." " Cut." "(man) Rick." "Bang." "The film starts in Korea, which is so bleak and depressing, and it's quite dark, and the whole torture sequence is..." "You know, we haven't seen that before in a Bond film." "So when he goes to Cuba, it should have this wonderful panache and flair." "This is supposed to be Cuba." "We're in Cadiz, Spain." "It's, like, 40 degrees." "You have the rain coming down." "Before we get in the rain we get spritzed down with water and dirt." "(man) Action!" "Slipping all over the place, and Pierce after an injury is running across this field." "Halle Berry running up this hill, soaking wet, in a dress." "It is really cold." "I've been wet in all my scenes, in a little sundress, and barefoot." "And it's been a little chilly, yeah." "But, you know, that's part of it." "Lee looked at me one day and said "This is what you wanted to do." "You signed up."" "And I said "Yes, I did, and I love it."" "(man) Action!" "(Brosnan) It's a little bit chilly." "Looks good, though, actually, from my angle." "I forgot to act." "But that does happen from time to time." "Our problem has been really the weather here." "It's pretty cold and draughty and not as bright as we'd hoped." "(Wilson) This is one of the worst series of storms on record." "Right now we're sort of in the eye of the storm." "We've had... battled it..." "rain, wind and cloud cover for the past four days, five days, and we're... and there's no end in sight." "And we're in the crapper." "We're out of here on Wednesday." "(Wilson) On a film you gotta keep going, and you just can't shut down for a week." "It's all a bit sad, really." "We're going to cut our losses, go on Wednesday, and then they'll figure out whether to come back here or... do it on the back lot, I guess." "There you go." "I feel a warm front coming on... is probably a line that we could put in the film." "We've had five days of hell." "This is our first day of sunshine." "The weather report looks foul and there's no point doing a great romantic scene between your leading lady and leading man in appalling weather." "I'd be the first to want to stay but I don't know." "It's a very hair-raising call to make." "You could turn up tomorrow to storms and we'd have made the wrong decision." "It's when Jinx first meets Bond, so that's a big scene for Pierce and I." "And because it's been so cold and rainy it didn't lend for the romance that that scene needed." "It was supposed to be at sunset, with wine, and very romantic and seductive, and it's just too cold, you know." "You can't do it like this." "That's not sexy." "The forecast we got today was very bad." "So we called the guy in the American air base over there." "Rota." "And we said "What's wrong with your website? "" ""They keep saying it's thunderstorms and it's rain."" "He said "Nah, it'll be a beautiful day today and tomorrow."" "It would be great to do it here because otherwise with your stop date it makes it very difficult back in the studios." "We'll have to rebuild the set." " Well then that's good." "Let's do it." " Let's do it." "All right." "(Brosnan) Things have looked up." "All day we've had sun, so we'll be here tomorrow." "We'll get Halle's scene." "This is her big scene and her entrance into the movie, so... spirits are good." "We'll wake up in the morning and hope that all is clear." "And I'm sure it will be." "In the script from the beginning there was this situation, which we all wanted, I think, which was an homage to the Ursula Andress bikini." "Obviously we didn't want exactly the same bikini and anyway Halle is a very different, you know, more modern kind of actress." "We've come up with this electric-orange very revealing and sexy bikini and a very beautifully crafted diving belt, which fits exactly on the top of her hips at the point where her bikini ends." "And the buckle on the belt, because her character is called Jinx, the stainless-steel buckle on the belt is a J." "(Berry) It's my freezing shot of the film, I can tell you that." "This is supposed to rival Ursula Andress." "I don't know." "I don't know if I can do that." "There's been a great deal of anticipation." "Hot anticipation." "And no wonder." "I think she's got the most fantastic figure for a bikini that you could ever have." "ENHOH" "Because Desmond Llewelyn is no longer with us, we wanted to kind of register his absence." "There's now..." "The new Q is John Cleese." "But we wanted him to say a line that just..."I never joke about my work"" "which was the sort of famous line that Desmond Llewelyn said in Goldfinger." "And we just thought that that was a nice tribute to him." "You must be joking." "As I learnt from my predecessor, Bond,  I neverjoke about my work." "It seemed strange that Desmond wasn't here because having played his assistant, and having had the most wonderful conversations with him, cos he was not just a lovely guy, he told wonderful stories." "So many people here who I've met over the years who worked with Father, they all have lovely memories of him, which is tremendous." "I think the spirit of Desmond is in every Bond movie and will always be there." "Desmond Llewelyn created this character of Q so many years ago." "He was always one of the highlights of every Bond film." "(Justin Llewelyn) It was interesting because Father wasn't really successful until the last few Bonds." "He was there, but it was a part that came bit by bit, so though we grew up with it, it didn't become this huge phenomenal world until quite late on, but it was always tremendous fun." "Everybody loves the Q scenes and wants to see what gadgets Bond's gonna get and what Q might be up to." "When we wrote that new scene I was very concerned that we didn't just have John Cleese take over and be Desmond Llewelyn." "When he appeared in the last movie he was almost like an assistant, but I thought it was time to kind of move him forward so we decided to make him Q, not R." "We gave him a costume, an attitude, a character all of his own." "Forgive my mentioning it, 007, but a perfect marksman isn't really supposed to shoot his own boss." "It was an opportunity to sort of play a scene between Bond and the new Q that explained to people in a subtle way what Q stands for, which is Quartermaster." "Give me the old firing range any day, Quartermaster." "And so hopefully that scene sort of marks the passing of Desmond, shows Bond not wanting to call him Q at the beginning and then awarding him the kind of endearment of Q." "Just took a few seconds, Q." "Wish I could make you vanish." "Basically, he has not to like Bond or else the scenes aren't any fun." "So this is where they keep the old relics then, eh?" "I'll have you know this is where our most cutting-edge technology is developed." "Q's attitude is don't damage the gadgets and if it means you're going to get killed, well, preferably don't damage the gadgets anyway." "And that's what it's all about and he sees Bond as this playboy who is irresponsible and not acting his age and that's what it's always gonna be about." "Ultrahigh-frequency single-digit sonic agitator unit." "The funny thing about learning gobbledegook is that some bits of it you get very easily, and then there will just be one phrase." "I couldn't get "target-seeking shotguns"." "Plus all the usual refinements:" "ejector seat... torpedoes, target-seeking shotguns..." "I'm sorry." "Whereas the quite difficult bit about tiny cameras on all sides project the image they see onto a light-emitting polymer skin on the opposite side." "That was quite simple." "Aston Martin call it the Vanquish." "We call it the Vanish." "This Aston Martin Vanquish is just beautiful." "It's a beautiful thing." "I've looked at how they've built it." "And I've realised, people who are aficionados of cars or technical stuff, they must love it, because it's as imaginary as it can get." "I despise technology in all its forms." "It's exactly like Desmond, and exactly like Pierce." "I can make very few things work." " Did that flash all right?" " (Lee) That's OK." "We can't see it, John." "I've had trouble with ordinary pencils sometimes, not even propelling pencils, so I'm really extremely badly qualified to play this role." "But I got it anyway." "I wanted to... for the 20th Bond movie and the 40th anniversary and all that," "I wanted to bring back the old gadgets, so we hustled up as many as we could find." "Alligators from here, and the briefcase and Rosa Klebb's shoe, and we got the jet pack from Thunderball." "We've dragged them all out." "The aficionados might spot them all." "We thought we'd give it pathos and a touch of history." "Given that there are no other films that have been going this long, it would be... a bit... miserable not to just sort of have some fun with that legacy." " Now, a new watch." "Your 20th, I believe." " How time flies." "ENHOH" "We thought that for this one it would be nice to get back to a bit more of the glamour and scale of some of the older Bond movies." "And there are elements that you'd only get in a Bond movie, that you wouldn't get in Die Hard and normal action movies." "(Miranda) This place was built entirely for this one night." "The world of Bond should have this... this kind of otherworldly, larger-than-life aspect to it." "So it's something that doesn't exist in the real world." "Barbara Broccoli had seen in a magazine about this ice hotel that gets built every year in Sweden, and that seemed like a fantastic visual feast." "We got excited about it and, of course, the first thing we did was call Peter Lamont." " And he went up and stayed there." " And he stayed overnight there." "If you have a challenge, give it to Peter." "I went to see the ice hotel and it's..." "Because it's frozen snow, you can't build it that big." "We have to have structure." "We went to a whole number trying to achieve this icy look." "So now you've seen it, now we've got this blue on top." "Then the fellas come round with..." "It's like a transparent sugar glass." "It's a kind of plastic." "So they kind of spoon it on, and you get these kind of icicles hanging down, then other fellas come round with a stirrup pump with candle wax." "This is a part we've already used." "We've also used glitter on it just to kind of get that twinkle." "It holds a great fascination for me, men who create images, like Peter Lamont, men who dream dreams and then they grow with sticks and nails." "I looked at the plans." "I saw the drawings for the ice palace." "I would visit the set and watch this thing being put together, and watch the concrete pilings go down 30 feet, watch the steel girders go in - being bolted, being welded." "And knowing then that you are going to work on the set, you are going to be performing, this is your stage." "That is the joy of doing Bond." "Vodka martini." "Plenty of ice, if you can spare it." "James." "Here for the penguins this time, or for the view again?" "It was massive." "I'd never been on a set that large before." "Ever." "And my next question was "Does this place really exist somewhere? "" " Look out this way and then swing back..." " Ah!" "Beautiful Iceland." "Yes." "The script initially had us... had us turning up in Iceland to an ice palace built by a villain, and that was pretty much it." "There was a car chase, I remember, but it was always "somewhere"." "It drove around over volcanoes and geysers or something like that." "We'd written it and there was the ice palace." "But Lee rightly pointed out" ""You've got this fantastic ice palace, but you only have dialogue scenes in there."" "And so he said "Let's sink the ice palace and have a car chase inside it."" ""Supposing we had a car chase in there."" "Well, everything's possible." "It meant putting in structural steel." "So we went back to the drawing board and had to add all that steel work in, and in some points we had already constructed half the set." "And we then had to cut into the set a new steel frame just to run the cars over." "We've shot our first... the opening scene, which is in its pristine state." "Now we're going to where the ice palace is starting to melt, and Bond is now in the car chase, chasing the baddie." "We're gonna have a car chase in here." "Bond and I face off again." "In the roof of the ice palace we've got water pipes that's gonna send down cascades of water." "Somewhere in the region of 27,000 gallons a minute." "And the problem we've got then is it's gonna collect in the centre of the floor." "So what we're doing now is cutting channels to allow the water to drop into the water tank, which is below." "We've got hundreds of things that are gonna collapse and break, he'll be racing around on the upper floors." "There's missiles, there'll be parts of walls exploding." "The car will be running into parts of the wall and that will be collapsing." "The ice palace never let you down." "It was like going to work in a big theme park." "I think it's fantastic that that is in the 007 stage, which is such an iconic building." "I think it's so fantastic that that still looms large on the horizon of Pinewood Studios, and it's what Cubby created to fulfil his dream for something bigger and better than had ever been seen." "ENHOH" "We did find this one ice lagoon, which is very famous." "It's known as, I think, Jökulsárlón, which basically means "a lake full of icebergs"." "They get trapped in this lake." "They can't get out cos there's a narrow body of water that takes them out to sea." "I thought "We better stage the ice palace here cos this will look fantastic."" "But I thought "What happens when this freezes? "" "Then the guy said "All the icebergs stay frozen solid, locked in place."" "I thought "This is spectacular." "What if we put cars on and have a car chase on ice? "" "We've seen cars on ice, but never like this, not amongst icebergs, giant ones - 40, 50 feet high, sometimes several hundred yards across." "Tunnels of ice." "The guy said "Nobody's ever done it, but you can put vehicles on it if it freezes."" "The most hair-raising aspect of the whole procedure, once we'd decided to do it, was, Iceland sits in the Gulf Stream, and often the ice doesn't freeze up solid enough to put the vehicles on." "We've had some trouble with Iceland when we went there." "Before Christmas it was freezing nicely, but over Christmas we had a thaw." "Very warm, rainy weather came in, so Iceland's thawed out." "It's maybe one of the few years where the lagoon does not freeze." "We're looking at alternatives." "We've been up to some places in Scandinavia." "We might also go to Alaska." "That's another possibility." "Alaska's not confirmed at this time because it's expensive, we don't officially have the permit, and we don't have work permits for the crew." "Hi, yeah." "Kenny?" "Because of time pressure, whether we go to Alaska or Iceland, we are now going to have to fly the equipment." "We can't take anything by ship at the moment." "Iceland is not cancelled, but currently the ice is not thick enough." "And the chances are, although it's freezing, it's possibly eight or nine inches thick." "But we need 24 inches." "And the chances of that happening in the next week or two is unlikely." "We're keeping our fingers crossed." "The option of Alaska is going full steam ahead as if we are gonna go to Alaska, but nothing has been decided yet." "The middle of next week will be the cutoff time when we have to make that decision." "Normally the setup time for something like this, to set this up would take..." "I would normally want six weeks." "And even that, that is a short period of time." "But because we changed course - went to Alaska and then came back " "I was only left with two weeks." "So it was a scramble to get this ready." "We had trucks and things to bring over." "On the trip over we lost the wardrobe bus." "Something like 18 tons' worth of wardrobe bus got blown off the road." "We had gusting winds, up to 180 miles an hour." "Snowstorms." "The main concern for the crew when they got here was the safety on the ice." "Because ice is very unpredictable, and we have to ensure that the crew feels safe." "200 people is a lot of weight, and all the gear." "Our big issue is making sure we're spread out, that we don't have everybody in one place, and so therefore putting too much pressure on the ice in one particular area." "What they feel is, if the ice breaks it'll put a wheel through or it'll half go through." "It won't just disappear from view that quickly." "All the cars have got flotation bags, which the driver, hopefully, will pull before he leaves." "That will make the car buoyant if..." "It'll still be submerged, but it allows us to recover the vehicle." "We have to test it." "So whenever we have a location given to us, we try and get ahead of everybody else, drill some holes." "So this morning they wanted a camera position near to an iceberg." "We send somebody in to drill a test hole to find if the ice is thick enough." "If it's within our parameters, we're happy for people to work there." "We do a check round the area to make sure that that iceberg doesn't look like it's gonna do anything strange and that there's nothing gonna fall off it." "Once we've cleared that, then the film crews can move in." "The required thickness varies with temperature." "So at the moment, 30 centimetres is well safe." "If it got warmer it might change, though." "Perfect day for filming." "8395 Bravo, take two." "In our heated workshop, we're barely above freezing." "As you saw, the icicles are still frozen on the cars." "Out there, we're getting wind chills of about minus 22 to 25." "You really can't show any skin." "You've got to cover up, and grin and bear it." "We've had batteries freezing." "The batteries just don't like it." "We have to try and keep them warm." "We've had the gearboxes, first thing in the morning, when they're really cold after a night at minus 15 or whatever it is up here, very sluggish to get warm." "When there is snow on the ice, it's getting... it accumulates around axles and the cars get sluggish." "We have to bring them in, thaw out all of the ice around the axles and drive shafts." "Brakes freeze on." "Tyres freeze to the floor." "Yeah, it's a whole new experience." "We've been out on the ice testing." "Highly successful, I have to say." "Too much grip on the Aston, believe it or not." "It drove just like it was on Tarmac." "The spiked tyres that we had made by Yokohama - unbelievable, it was just like driving a car on normal road." "So we've actually had to have normal tyres studded to give less grip to allow the guys to work the car." "Today is pretty dramatic." "It's quite eerie walking around on the lake." "It's 1,000 feet deep where we're standing, and we're walking on top of it, and there's slushy water on the ice." "So there's an inch of water in a lot of places." "So you can't help but feel the thickness of the ice is starting to deteriorate." "So we've got our safety guys keeping a close eye on that." "But it's just purely the temperature rise." "We've got a lot more wind." "It's about plus 7." "We're drilling the ice about every half hour, just to make sure that we're not losing any depth off the ice." "The dragster is getting ready to come onto the ice, and that will join us there." " Two cars, then the dragster." " There's only one car." "There's a car coming onto the ice over there as well." "I'm paranoid about making the audience realise that it is an ice lake." "So we've made all the moves in the chase ice-orientated." "They've got big spins and slides in them, so we're utilising what the ice can give us that a Tarmac road can't." "So we've got a couple of 180-degree turns in it." "Lots of broad power slides sideways." "We've had all these cars built by special effects, who've done an incredible job." "They've built them all four-wheel drive purely for this." "So we've done some fantastic long power slides with them, and things like that." "And we had a helicopter here, with a Wescam on." "So we've had the chance to do some great aerial coverage as well." "I think the ballet aspect of it all looks so great from the air." "You get a whole different view of it." "The two drivers, Ray De-Haan and George Cottle, are brilliant." "I'm so impressed." "We did a shot yesterday where Ray De-Haan had to rear end the Jag." "But there's a few hundred thousand pounds into each of these cars." "We don't want to write them off, but we still have to get the shot." "So it was a very precision tap that Ray had to give George on the rear quarter." "So we had to nudge him, have a contact." "And his precision in hitting him, backing off and letting George spin, was fantastic." "But they have to watch on the ice - it's great getting the slides, but if you do dig into some of this snow, you could flip." "All of a sudden you get traction, slide sideways, and then you get a pressure ridge, which can be three or four inches high." "So it's like sliding sideways into a curb." "It could flip you, or damage the car pretty severely." "But it's so easy just to overcook it and just spin out." "As it turned out, we were blessed with unusually low temperatures that froze the ice just enough." "The guys are up there at the moment shooting fantastic stuff." "Unbelievable." "I've never seen anything like it - racing cars at top speed, backwards, upside down, firing rockets, amongst the most spectacular terrain." "Something about this stuff I haven't seen before, and I am more enamoured of it." "It's not fair to say so, but sometimes you watch second-unit stuff and it becomes..." "It's just, you watch everything." "The action units print everything." "So you watch the same stuff over and over." "I have to watch it all, but it becomes tedious watching this stuff." "But this stuff, I can't get enough of." "ENHOH" "Bond movies have to approach the day when they're not shown on film any more." "The manipulations that allows you now when dealing with digital technology are endless and effortless." "Some of the stuff we're doing in this, in terms of the big stunt effect sequences, are only gonna be a precursor to what is gonna follow in the next generation of Bond movies." "The high-end action sequences that are done for real are still going to exist but I think that half of them will exist for real and half of them will be augmented with and sometimes they may move into entirely digital special effects that way." "(Mara Bryan) He's been very adventurous on this film." "And I'm pretty sure that was a conscious decision, that he wanted to take Bond into this millennium, in terms of technology, and we've certainly done that." "It is the first Bond where we've used major-league CG." "The script changed from its very first incarnation." "But one sequence that remained right from the very beginning was the ice wave." "And I could see immediately there was going to be a great deal of digital visual effects involvement." "By far the most unnerving stuff was Bond hanging off an ice wall... in a world that didn't exist, a computer-generated world." "That kind of really sent a lot of us into paroxysms of fear, if you will." "My part in it is actually pretty minimal." "Hanging Pierce on certain rigs and against bluescreens was very easy." "The tough part comes at the back end of this, once so we have to start putting the rest of it in and making it real." "It will either stand or fall on whether this stuff works or not." "We very quickly set up a team, a CG team, doing R  D on water and ice, which this particular team had some experience of from other movies " "Perfect Storm and various other films." "But the way that we were going to use both the water and the ice was totally different and new and quite cutting edge, especially for a Bond film." "Bond films obviously have their reputation for doing as much as possible for real." "This suddenly was an environment that we were going to create that was totally synthetic." "I went with a very small aerial team up to Spitsbergen and shot all the material for the cliffs and the ice, which was an incredible shoot, just amazing." "The amount of effort that's gone into that very tiny sequence is quite astonishing." "One of the biggest challenges of the ice wave was that there was nowhere to hide in terms of the look." "We were in broad daylight, full sunshine, and we had to create a totally CG environment which consisted entirely of ice - very difficult." "Water-quite difficult." "That was a tremendous challenge." "So here we have the final sequence of the ice wave." "Fully rendered CG environment." "Fully rendered, in some cases, CG Bond." "Bluescreen Bond." "Again..." "CG ice, CG water." "And various live-action elements." "It started life as a very basic animatic, which Mark has got here, just to block out the storyboard frames." "The beam cuts the ice cliff off, ice cliff falls and creates the wave that Bond is going to surf on." "There's a lot more shots in this animatic than ended up in the final sequence." "It's been cut down, rearranged as it's evolved." "That top shot doesn't exist any more." "Very basic CG geometry." "Quick, easy to change, easy to rerender." "We knew we still had to do close-ups of Pierce." "We tested a camera rig and a rig for Pierce to be shot on a bluescreen." "We shot a lot of elements, some of which have been used for Bond's interaction with the water." "And also because floating in the water and being carried with the wave are huge icebergs, and those icebergs obviously have to interact with the water as well." "Spray, foam, splashes, every kind of interaction we actually shot as elements out at Pinewood." "Some of those have been used and some of them have been recreated as CG." "I think what Cinesite have achieved in terms of the level of reality is extraordinary, both with the ice and with the water." "But all those things have taken basically a year to develop." "The finished result is that you believe that those icebergs are sitting suspended in that water." "Each iceberg, depending on its size, has a certain weight and you can feel the volume and you can see the base of the iceberg through the water and through the interaction, and it really is quite stupendous." "I think one of the things that I'm particularly proud of, that is almost a throwaway thing, is the satellite." "The design of it I love, and the concept of the satellite works really well." "You only see it a few times, usually in the course of an action sequence." "But if you actually look at the object itself and how it works, it's a combination of a miniature that was shot motion control and some very, very beautiful computer-generated elements as well." "It's a very beautiful thing." "I'm very happy with the satellite." "The other sequence, which emerged soon after we started shooting, was the end sequence, the Antonov sequence, which by virtue of the fact that it's all airborne was going to be major-league visual effects." "We had a 12th-scale miniature of the entire plane." "Because the Antonov is such a tremendously big aircraft, at 12th scale the wingspan of that model was still approximately 20 feet across." "It was all shot with a motion-control rig linked to a model mover on a greenscreen stage." "So the Antonov goes into the Icarus beam and gets pretty well torched." "So we cut to the exterior of the Antonov and it's gradually disintegrating." "So it's been shot in separate passes with various levels of disintegration, so the model unit as they were shooting it gradually stripped back panels on the model to simulate the damage." "There's a pass just for the lights on the plane." "There's a pass for tracking, so that we've got the movement of the plane." "The computer can take the move out of the... extract the camera move from the film using the tracking markers." "We should have a beauty pass against black." "And these are built up as layers to give the final result." "There is a CG plane in there but it's an invisible model." "It's a very rough model that we've used as a collision model to wrap smoke and flame around for the culmination of the whole destruction of the Antonov, because all the smoke and flame in that sequence is computer generated," "so you have to have an object or a virtual object to wrap all that around." "So there's an invisible CG component in there, as well." "But, basically, it's a miniature." "Bond." "James Bond." "Every kid has a dream and wants to work on a Bond film on some level." "You think I'd leave this in the hands of the British?" "I'm the first American to ever be an editor on a Bond movie." "Bringing me over here and letting me have free rein, which they really did, it was a process of me learning about Lee and his way of doing things." "He does a lot of cutting in the camera." "He knows what he's doing." "He's very focused, and what I try to do is take that footage and make it a little bit stylised." "Christian, my editor, has been cutting it very fast and very progressively modern, and I use that phrase advisedly because I'm always a little hesitant myself about that kind of music-video approach to action." "(Wagner) One of the things that I like about editing is I like to keep the camera moving because if it's moving all the time there's a certain flow." "For a very long time, I think, truly before MTV came out, the theory behind editing was that the best edited film was a film where you never saw the edits." "I think that that theory is past gone." "I think films like The Matrix and John Woo films and Michael Bay just..." "It's a flurry." "It's a flurry of eye candy." "I wanted to bring that editing style into Bond to make it a little bit more... hip, I guess, as is close as I can get." "When I started doing that..." "This family has been together for 40 years because they have been doing it a certain way for so long." "The new style with the speed ramps and all that, they were a little thrown back." "When we started putting the movie together and seeing how people reacted, they really warmed up to it and it became a lot of fun." "We didn't want to end up with just another car chase where the cars roared along and had squealing tyres." "They're on ice." "We're trying to avoid all these clichés." "But we're using a device known as speed ramping, which is no stranger to TV commercials, music videos, or even some movies now." "This shot was shot at this speed, running across the glacier, and then revealing the two cars on the ice." "And then they came closer and went out of frame." "You increase and decrease the speed of the film at alarming rates - very fast, very slow - according to however you want to use it." "It's usually to do with music or to do with the pace of things." "(Wagner) It's all very nice and shows geography very well, but it's also very time-consuming, so I get ideas like this." "So I will high-speed across the glacier fields, slow down to show what we have going, and then keep it going as fast as possible." "I'm not a big advocate of cutting just for the sake of cutting." "If there's a crane shot that takes nine or ten feet to complete, let it ride out cos it's a beautiful shot." "There's no reason to interfere with the director's vision of how he wanted that to happen." "There's no reason to cut for cutting's sake." "That just makes for confusion." "And it's my feeling that it's a way of getting out of a problem, and if there's no problem in a shot, then why not stay on it?" "The only science for action editing is story." "You'll watch films that have action sequences and there won't be any, really, story involved, it's just car chase." "When I look at the footage, I like to think about the reasoning behind why this car went there." "This represents a three-times-around chase, which became too long so we made it two." "We decided that Bond would use his invisible car." "So when Zao started revving up his engine and going, and just as Zao is about to hit him, he makes it invisible." "But before that you see an insert of metal pegs coming out of the tyres." "And he rolls up the back of a wall and Zao comes off, 40 feet in the air, lands and dies, and the car appears almost vertical on the wall." "It reappears and rolls back down and goes back downstairs again." "So that was the death sequence that was come up with way after the beginning of shooting and right towards the end of editing." "I find dialogue scenes to be my favourite scenes because it's more old-time filmmaking when there's dialogue going on." "So the scene in the hothouse I felt was a lot of fun and really well done." "You never thought of looking inside your own organisation?" "The Icarus presentation I never really liked because it was just so long." "There was too much going on." "They were looking at the presentation, we were up in space," "Pierce and Halle were down looking at other people in the crowd." "There was just too many stories going on, and for that to translate took so long." "So we had to get rid of certain parts of the five stories within the one scene, and it was hard to let some of those go cos it was like, how is that going to affect it later on?" "I think the most important thing for me as an editor is when I'm cutting scene two, I still gotta think about scene 185, because how is this going to affect this, and keeping the big picture in my head." "Using the Avid is a highly, highly advantageous thing:" "(a) Cos I can cut with eight tracks of sound," "(b) I can have up to 20 layers of video." "There was a sequence in the hospital where Bond is actually meditating himself into a state where he can get his heart rate down." "There was multilayers of dissolves and things going on, and it was nine layers of video." "The great thing is that before you couldn't see any kind of previsualisation about what that was gonna be like until you sent it to the lab." "A week later maybe you got one dissolve back but here I could do nine layers of dissolves and cross and do all that stuff." "I have never been able to separate my life as far as when I go home I don't think about editing." "That's not true." "I always think about it." "I'm laying in bed at night and thinking" ""What if I try this tomorrow?" "What if I do this? "" "And so it is very emotional." "The best part of a Bond movie is the opening 10 seconds, cos you've got the gun barrel, and for that 10 seconds, potentially, the best Bond movie ever made is about to start." "It's almost like it's impossible now to make the greatest Bond film ever, because the greatest Bond film ever is made up of all tiny bits of all of the other 20 films now." "You can't beat the sound of 85 people in a room putting everything into a performance." "It's quite an isolating job being a composer." "For most of the time you're spending 15, 16 hours a day in a dark room, with the door shut," "looking at these people doing what they're doing on the screen and trying to find music which is gonna work for it." "And you do that seven days a week for three and a half months." "You emerge at the end of it, blinking and pale, having lived on junk food and sat down on your backside for three and a half months, wishing you could be healthier." "You come into a fantastic studio like this and record it with fantastic musicians, and that's kind of it." "You don't really get to meet that many people." "Your world is the world of the music of the movie." "Each one of these movies presents you with the same mountain to climb but a different set of obstacles in the way." "And all you know is that you can't really take the same route you took last time." "In a way, you could write the same score to the same three movies if you really wanted to." "The character is essentially the same and essentially doing the same things in not dissimilar situations." "He's being chased or chasing and he's with a girl or not with a girl, and he's getting his gadgets and he's using them or he's not." "The situations that Bond finds himself in stay fairly constant from one film to the next, with occasional dramatic differences." "And with Bond it's a complete world, its own universe." "The worst thing about action music is there's such a lot of notes." "The page is black with notes." "A lot of them are six or seven minutes long, these sequences, and quite fast." "Nice, slow music is less notes, so it's a little bit easier." "As a musician, you always look for an emotional input to a sequence." "Sometimes another explosion or another gunshot doesn't give you that." "So it's nice when you get the occasional moments like with Jinx." "I tend to save the Bond theme, Monty Norman's Bond theme," "I tend to save that until Bond does something typically Bondesque." "Sometimes if he's in danger, I'll play it in a darker style." "When he comes out over the top of that ice wave, there's only one thing to play." "("James Bond Theme")" "What I tried to do on this was work with the sound of the orchestra differently." "In the hovercraft chase and on the ice chase," "I recorded the strings and brass and woodwinds separately so I could put them into the computer and chop them up and have them playing backwards and upside down, and distorting them and throwing things in the surround." "So there are moments in the hovercraft chase and in the ice chase where orchestral phrases will be playing backwards at the back of the theatre, and then they'll travel around the surrounds to the front where they kind of solidify," "and other things'll be spinning round." "So you're kind of playing with the technology a little bit." "I'm actually writing the music for the chase forwards, then phonetically kind of reversing it." "So the music that the musicians play is phonetically backwards of the phrase that I want to hear." "I get them to play that." "The recording, I flip it over so it comes back the right way." "But when you're writing Bond music it has to sound like Bond music, no matter how many tricks and things you throw at it, and no matter how contemporary you would like to try and make it feel," "with electronics and chopping up bits and pieces and distorting things." "I think an audience always expects to hear a kind of orchestral presence, to kind of keep harking back to the brilliant stuff that John created, and match that signature sound." "And as long as I'm doing it, I'm never gonna get away from that." "You'd be stupid to, cos it's just perfect." "I tried to build these little moments of very old Bond movies in there, create new characters, old characters, Cuban characters, a sense of espionage." "There's Cold-War Korea." "(Barbara Broccoli) We both go back to what Cubby taught us." "One of the most important things he said to us, I think, was" ""Don't screw it up."" "Fleming had created this character." "They had created a whole film genre." "He used to say "Everybody will try and mess with it."" "It was quite like doing an independent film, a low-budget film, from the point of view of the passion." "I grew up watching Bond and sort of fantasising about being in that world of mystery and intrigue." "(Wade) Bond used to be the only real event movie." "Now there are big blockbusters always being made." "But the one thing that the Bond films have is that the hero operates in a world that you'd like to be in." "When I was a kid everybody talked about the Bond." ""What's he gonna do next time? "" "Inside.Die.Another.Day.2003.TeTsu.DVDRiP.XViD"