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Hello, I'm Barbara Broccoli.
I'm with Michael Wilson.

2
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We produced the
film Casino Royale.

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During this audio commentary,
you are going to be hearing...

4
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...from many of the talented
technicians and craftsmen...

5
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...and designers who've
worked on Casino Royale.

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Film is a very collaborative
medium, and in our case...

7
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...the Bond films, over
the years, have acquired...

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...some of the most talented, creative
giants in the motion-picture industry.

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Peter Lamont, our
production designer...

10
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...who began working with
the Bond films on Goldfinger.

11
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Chris Corbould, our
special-effects supervisor...

12
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...who also worked on models
with Steve Begg on this film...

13
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...and did an extraordinary job.

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Lindy Hemming, our
costume designer.

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Phil Méheux, our
cinematographer...

16
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...whose first film with
us was GoldenEye.

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Debbie McWilliams, who's
been a key member of our team...

18
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...casting the film since
For Your Eyes Only.

19
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Stuart Baird, legendary
editor, who cut Casino Royale...

20
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...and many others.

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We're gonna start
with Phil Méheux.

22
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Now, the film opens in black
and white, as you will notice.

23
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And the idea here
was to give a feeling...

24
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...of those spy movies that came
out after the Second World War.

25
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Third Man, Spy That
Came in from the Cold...

26
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...and all those sort of things.

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That, you know, brought
about the black and white.

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And also to show... Give it a
sort of period feel, I suppose.

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This is in a slightly
different period.

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It was also in wide-screen.

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And we used as a reference
sort of The Ipcress File...

32
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...which was a film that both
Martin Campbell and I liked.

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It was also shot in a
process called Techniscope...

34
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...which was a wide-screen process,
which only used half the film negative.

35
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And Techniscope was
a Technicolor invention...

36
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...where this 2.40:1 frame was
expanded and squeezed down...

37
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...to make a standard 35
mm at CinemaScope print...

38
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...which effectively gave
you more depth of field...

39
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...than the standard
CinemaScope did.

40
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And it allowed you...

41
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...to do these raunchy
compositions, as you can see here.

42
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Where everything wasn't squadgy
because it was out of focus...

43
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...but that had
some definition to it.

44
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Black and white is a
very interesting medium.

45
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It's a photographer's medium...

46
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...because you really
have to concentrate...

47
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...on the tonal
values of everything.

48
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It's not just a question of just lighting
it the same and shooting it the same.

49
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It reacts differently to light
and it reacts differently to colour.

50
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Now, obviously, certain colours
record well, certain other colours don't.

51
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It's a much more
contrasty stock.

52
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And I wanted to
shoot it this way...

53
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...rather than use colour
film and take the colour out...

54
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...which is what a lot of
them have done recently.

55
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Because I wanted a
true black and white look.

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Nearly all the Bond films start off
with the gun barrel across the screen...

57
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...and the blood, and then
the gun barrel wavers...

58
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...and it actually zooms out...

59
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...to reveal the first scene
of the pre-title sequence.

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This one is different because
he's not a double-0 yet.

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It waits until this scene
comes to an end...

62
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...and it was a question of
how we bring in the gun barrel...

63
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...because it's such
an iconic image.

64
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How we bring it in
to the sequence...

65
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...and retain that iconic image
without using the previous version of it.

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By using it at the end of the
sequence instead of the front...

67
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...brought about a
certain change of attack.

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We rehearsed it quite
a bit with Daniel Craig...

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...to get the feeling
and the mood of it...

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...So it retained some of the
characteristics of the earlier ones.

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Although, in fact, he walks
on from the side of frame...

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...and just turns and fires.

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This is the first one where he's
been back to camera completely...

74
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...and rotated 180 degrees.

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So there were quite a few
rehearsals to get the timing of it right...

76
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...and getting to pull out the gun right,
and get all those to actually match in...

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...So that the gun barrel could
be then positioned over the top.

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My name is David
Arnold, the composer.

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It's a bit of a conundrum,
the song title and the film title...

81
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...because there is a
certain expectation...

82
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...that the film title will
be contained in the song...

83
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...using the song title perhaps.

84
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When you have something
like "The World Is Not Enough"...

85
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...that's quite easy to do.

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I guess, like,
Octopussy, you know...

87
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...Casino Royale is a
very specific kind of word.

88
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And it felt to me that this song
needed to be about James Bond...

89
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...because in the same way
that this film was, I think...

90
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...the first time in a very long
time it's been about James Bond.

91
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You know, it's not been
about the Uber-villain...

92
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...you know, because the villainy
in Casino Royale, it's quite diffuse.

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It's not just about one person.

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You realise it when
you go through it.

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You know, there is kind of
this quiet labyrinthine trail...

96
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...which doesn't even
stop at the end of the film.

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So the idea of there being a Mr
Big, you know, we don't know...

98
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...anything about
that in Casino Royale.

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And so there really wasn't a kind
of, you know, specific, you know...

100
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Le Chiffre turns up at a
certain point in the film...

101
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...and, you know, he disappears
the last third of the film.

102
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He's not in it at all. And
so it couldn't be about him.

103
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You know, it couldn't be about
his love affair with Vesper in a way...

104
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...because the film
was, I think, much more...

105
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About much more than just that.

106
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You know, you kind of learn
about his relationships with women...

107
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...from Solange onwards.

108
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And that informs our
understanding about, you know...

109
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...how he treats and
relates to women anyway.

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And it just felt like, overall, it felt
like it was a film that was more...

111
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...about James Bond than we've
had for a very, very long time.

112
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And so it felt like the
song should be about him.

113
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And I think if it was
about Casino Royale...

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...or called "Casino Royale," or
you sing about Casino Royale...

115
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...then you think about
Casino Royale, you know?

116
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I thought, if anything...

117
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...that film was the least about
Casino Royale than anything.

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I mean, it was a great
title for the movie...

119
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...but I don't think it's a... It's
not a good word to sing either.

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And, again, you know, difficult
for anything to rhyme with.

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And the casino's only in it
for the middle third, you know?

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There's nothing about
it in the beginning...

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...there's nothing
about it at the end.

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So it just felt like it
was the right time...

125
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...to do something
which was a bit more...

126
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And you know, the phrase
"You know my name"...

127
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...one of the couple of lines
I came up with in the song...

128
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...Chris wrote the lyric,
and I needed a few lines...

129
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...but the idea of calling
it "You Know My Name"...

130
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...was because it was very
kind of cocky, you know?

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It's like when people ask
you, you know, "Who are you?"

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You say, "You know already."

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So it was already
kind of confrontational...

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...and it felt like it's a sort
of thing that, you know...

135
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...Daniel's James
Bond could say.

136
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And that's the main
reason for doing it.

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Hi, this is Callum McDougall.

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I'm the executive
producer on Casino Royale.

139
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The Ugandan camp, that
was an interesting location...

140
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...because we
wanted to shoot it...

141
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Ideally, it would've made a lot of sense
to have shot it in the Czech Republic...

142
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...because we weren't gonna
go to Uganda to shoot it.

143
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Unfortunately, we couldn't
find the amount of black extras...

144
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...that we needed... Children.
...in the Czech Republic...

145
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...and certainly in Prague.

146
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And we were kind of stumped
where to shoot the sequence.

147
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And Peter Lamont
came up with an idea...

148
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...that we could
shoot it in England.

149
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And we actually shot it
in Black Park, which is...

150
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It's an extension, really,
of Pinewood Studios.

151
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It's like the backlot
to Pinewood Studios.

152
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We've used it on
various James Bond fiims.

153
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It was used on Die Another Day for
when the Russian helicopter lands.

154
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And Peter said, "I think we
can shoot it in Black Park."

155
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And he showed
us this location...

156
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...and I remember walking around
there with Martin Campbell and Peter.

157
00:08:03,399 --> 00:08:06,193
And I remember Martin kind of
looking and thinking, you know:

158
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"Uganda?"

159
00:08:07,569 --> 00:08:11,657
But it... Peter said, "Don't worry,
Martin, it will look like Uganda."

160
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And sure enough, he did an
amazing job, Peter Lamont.

161
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And a lot of it... He
brought in this red earth...

162
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...which he got permission
from the local council...

163
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...that it wasn't going to interfere
with the ecosystem of the park.

164
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And he put down all this kind
of red dirt, built these shacks.

165
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We brought a helicopter in,
we dressed it with extras...

166
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...and it looks like Uganda.

167
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And I think what
helps it also is the rain.

168
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But it really... I think if
you said to anyone, again...

169
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...you know, that you shot
that in Black Park in England...

170
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...they'd be pretty surprised.

171
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Hello, I'm Peter Lamont...

172
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...production designer
on Casino Royale.

173
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Black Park is adjacent
to Pinewood Studios.

174
00:09:00,289 --> 00:09:04,918
There is actually a back gate from
Pinewood Studios into Black Park.

175
00:09:05,085 --> 00:09:06,725
We've been there on
a number of occasions.

176
00:09:06,837 --> 00:09:10,799
We did the pipelines on
The World Is Not Enough.

177
00:09:10,966 --> 00:09:15,054
And over further, that's where
Syd Cain built the gypsy camp...

178
00:09:15,220 --> 00:09:17,097
...for From Russia With Love.

179
00:09:17,264 --> 00:09:20,100
That was in the backlot
adjacent to Black Park.

180
00:09:20,434 --> 00:09:23,645
We've been out there so many times,
you just do bits and pieces out there.

181
00:09:23,812 --> 00:09:26,565
You know, then we went out
to Black Park to do Uganda.

182
00:09:26,732 --> 00:09:29,943
You see, we went
round to Living Prop.

183
00:09:30,110 --> 00:09:32,470
The fellow with the bananas,
and palm trees, and all that...

184
00:09:32,613 --> 00:09:35,032
...he came around,
made a jungle for us.

185
00:09:40,162 --> 00:09:41,288
My name is Alexander Witt.

186
00:09:41,455 --> 00:09:44,291
I was the second-unit
director on Casino Royale.

187
00:09:44,458 --> 00:09:48,128
And also the second-unit
director of photography.

188
00:09:49,171 --> 00:09:55,594
Here we had 500 to 1000 extras
and the set was built in the Bahamas.

189
00:09:55,761 --> 00:09:58,013
And it's supposed
to be Madagascar.

190
00:09:59,014 --> 00:10:01,391
The set was built
by Peter Lamont...

191
00:10:01,558 --> 00:10:04,770
...which has done most
of the Bond movies.

192
00:10:04,937 --> 00:10:11,151
I think he only missed
one. A great designer.

193
00:10:11,318 --> 00:10:13,195
This is Callum McDougall again.

194
00:10:13,362 --> 00:10:15,364
The Bahamas worked
out really, really well for us.

195
00:10:15,531 --> 00:10:18,117
And I think Martin, once
he saw the Bahamas...

196
00:10:18,283 --> 00:10:21,703
...Martin Campbell, he said,
"This is where I want to do it."

197
00:10:21,870 --> 00:10:23,664
And he was absolutely right.

198
00:10:23,831 --> 00:10:26,834
So then we thought we'd try
to do as much as we could...

199
00:10:27,000 --> 00:10:29,962
...in the Bahamas, and
it worked really well...

200
00:10:30,129 --> 00:10:32,131
...because we were able
to do the Madagascar...

201
00:10:32,297 --> 00:10:36,844
The whole of the construction site,
all of Madagascar, we shot on Nassau.

202
00:10:37,010 --> 00:10:39,888
We looked at shooting
in Madagascar for real.

203
00:10:40,055 --> 00:10:42,724
It was unbelievably complicated.

204
00:10:42,891 --> 00:10:46,687
Even to go and scout
it was complicated.

205
00:10:46,854 --> 00:10:50,816
So we'd decided we'd
re-create it in the Bahamas.

206
00:10:50,983 --> 00:10:55,320
And I think Peter Lamont and
his team did an amazing job.

207
00:10:56,238 --> 00:10:58,699
I'm Robert Wade, one
of the screenwriters.

208
00:10:58,866 --> 00:11:02,786
And I'm Robert's writing
partner, Neal Purvis.

209
00:11:02,953 --> 00:11:07,416
And this was going to be
originally the opening of the movie...

210
00:11:07,583 --> 00:11:11,420
...before the idea of
putting the two kills came in.

211
00:11:11,587 --> 00:11:17,426
And the idea was to show
Bond undercover, unshaven...

212
00:11:17,593 --> 00:11:18,594
...In an area that...

213
00:11:18,760 --> 00:11:21,430
In a kind of world that we
wouldn't have seen him in before.

214
00:11:21,597 --> 00:11:23,640
Like a backpacking
kind of world.

215
00:11:23,807 --> 00:11:26,977
He's tracking this
terrorist bomb maker.

216
00:11:27,144 --> 00:11:31,273
Originally, he was called Two Fingers
because he only had two fingers.

217
00:11:31,440 --> 00:11:34,568
We had some jokes on that front.

218
00:11:34,735 --> 00:11:38,822
But they couldn't do
that, so he had burn scars.

219
00:11:38,989 --> 00:11:43,285
Yeah, he couldn't have the two fingers
and run and jump was the problem.

220
00:11:43,452 --> 00:11:45,495
We'd seen a
commercial years ago...

221
00:11:45,662 --> 00:11:49,958
...that had a kind of early
version of free running.

222
00:11:50,125 --> 00:11:53,629
A guy running around
an unfinished building...

223
00:11:53,795 --> 00:11:56,131
...jumping from
girder to girder.

224
00:11:56,298 --> 00:11:59,968
They'd used a Native
American construction worker...

225
00:12:00,135 --> 00:12:01,470
...who was used
to skyscrapers...

226
00:12:01,637 --> 00:12:03,639
...and running along
those girders really high up.

227
00:12:03,805 --> 00:12:06,767
And we'd already always
wanted to put it in a film.

228
00:12:06,934 --> 00:12:10,812
But this was particularly appropriate
as a way of introducing Bond...

229
00:12:10,979 --> 00:12:17,486
...as a kind of no gadgets, vigorous,
unstoppable younger man, really.

230
00:12:17,653 --> 00:12:21,323
Amazingly, it's the only
foot chase in a Bond movie.

231
00:12:21,782 --> 00:12:23,450
Apparently so.

232
00:12:23,617 --> 00:12:25,202
This is Callum McDougall again.

233
00:12:25,369 --> 00:12:28,956
The Bahamas we scouted... We
scouted there two or three times.

234
00:12:29,122 --> 00:12:32,751
It was actually on the second
time that we came across this hotel...

235
00:12:32,918 --> 00:12:35,504
...that was on a
Ministry of Defence site.

236
00:12:36,088 --> 00:12:39,174
And funny enough, Peter
Lamont had remembered it...

237
00:12:39,341 --> 00:12:41,843
...from one of the many
Bonds that they shot there.

238
00:12:42,010 --> 00:12:44,972
Peter said, "I remember this
place." And we drove down there...

239
00:12:45,138 --> 00:12:47,766
...and it was the first time we'd
taken Martin to the Bahamas...

240
00:12:47,933 --> 00:12:50,018
...Martin Campbell,
our director.

241
00:12:50,060 --> 00:12:53,814
And we looked at this, this used
hotel, and it was absolutely perfect.

242
00:12:53,981 --> 00:12:57,693
You couldn't have asked
for a more suitable location...

243
00:12:57,859 --> 00:12:59,569
...as a construction site.

244
00:12:59,736 --> 00:13:03,156
The only problem was it was
on a Ministry of Defence site.

245
00:13:03,323 --> 00:13:05,200
And the Ministry of
Defence were using it.

246
00:13:05,367 --> 00:13:09,079
I mean, they were using
it for band rehearsals.

247
00:13:09,246 --> 00:13:11,164
In fact, I think they
have people living in it.

248
00:13:11,331 --> 00:13:16,795
And it took a lot of
negotiations to let us go in there.

249
00:13:16,962 --> 00:13:18,755
This is Alexander Witt again.

250
00:13:18,922 --> 00:13:21,300
We tried to do most of
these stunts for real...

251
00:13:21,466 --> 00:13:25,637
...because we realised
that a lot of these new films...

252
00:13:25,804 --> 00:13:27,264
...they were using
too much CGI...

253
00:13:27,431 --> 00:13:30,058
...and I think people are
getting too sophisticated too.

254
00:13:30,225 --> 00:13:33,145
They kind of know when
there's CGl involved or not...

255
00:13:33,312 --> 00:13:40,068
...and my idea with Martin was to
do as much as for real that we could.

256
00:13:40,235 --> 00:13:43,488
Talking to Martin, we decided
that the jump on the crane...

257
00:13:43,655 --> 00:13:48,368
...should've been done by one...
Only one jump without any cuts.

258
00:13:48,535 --> 00:13:52,372
So we had to really
think about how we do it...

259
00:13:52,539 --> 00:13:55,751
...with him jumping from the
first crane to the second crane.

260
00:13:55,917 --> 00:14:01,048
And then go over, and jump
down to the roof of the building.

261
00:14:01,214 --> 00:14:05,093
Hi, my name is Gary Powell. I'm the
stunt coordinator on Casino Royale.

262
00:14:05,260 --> 00:14:06,720
Everything you see is real.

263
00:14:06,887 --> 00:14:10,599
There's absolutely no CGl there
other than a bit of wire removal.

264
00:14:10,766 --> 00:14:13,810
The guy doing... Sébastien
doing the double jump...

265
00:14:13,977 --> 00:14:17,230
...he's got a cable on him, but
the cable's not actually jumping him.

266
00:14:17,397 --> 00:14:18,982
The guy physically
does the jump.

267
00:14:19,149 --> 00:14:21,568
All it does is it decelerates
him the last couple of foot...

268
00:14:21,735 --> 00:14:23,153
...at the bottom of each jump.

269
00:14:23,320 --> 00:14:25,320
But he physically does the
jump. As the same who...

270
00:14:25,447 --> 00:14:27,115
The guy who does
the James Bond jump.

271
00:14:27,282 --> 00:14:28,658
Exactly the same again.

272
00:14:28,825 --> 00:14:29,993
He jumps, there's no...

273
00:14:30,160 --> 00:14:31,953
The cable's there,
but it doesn't fly him.

274
00:14:32,120 --> 00:14:33,914
He's physically doing the jump.

275
00:14:34,081 --> 00:14:36,833
We had little... Safety platforms
there with rubber matting on it...

276
00:14:37,000 --> 00:14:40,337
...because the actual crane-landing
platform was, like, a foot wide.

277
00:14:40,504 --> 00:14:45,342
And because the height for the crane...
One's 140 foot and one was 120 foot.

278
00:14:45,509 --> 00:14:48,149
Technically, you're not actually
allowed to lop these cranes off...

279
00:14:48,303 --> 00:14:51,014
...because they're supposed
to free-move in the wind.

280
00:14:51,181 --> 00:14:52,341
We did have cables on them...

281
00:14:52,474 --> 00:14:56,019
...but we had to be there with cutters
so if the wind got up, we had to cut it.

282
00:14:56,186 --> 00:14:58,105
But even still, when
they was up that far...

283
00:14:58,271 --> 00:15:00,732
...the two cranes were sort
of moving in five to six feet.

284
00:15:00,899 --> 00:15:05,195
So the jump could be 15 foot, 20
foot, back into 15, or something like that.

285
00:15:05,362 --> 00:15:08,198
So even when they was jumping,
they still had to gauge where.

286
00:15:08,365 --> 00:15:11,743
So we did put a little slightly bigger
platform there for him to land on.

287
00:15:11,910 --> 00:15:14,996
My name's Robert
Wade, I'm a screenwriter.

288
00:15:15,163 --> 00:15:18,667
Basically, what you're looking for
as a writer of an action sequence...

289
00:15:18,834 --> 00:15:21,795
...Is something that... There's
an element of narrative to it...

290
00:15:21,962 --> 00:15:25,132
...that you can have
this developing story...

291
00:15:25,298 --> 00:15:28,427
...that shows an
aspect of the character.

292
00:15:28,593 --> 00:15:34,224
The best beat in it all, I think, is
when the terrorist jumps through...

293
00:15:34,391 --> 00:15:37,811
...the top of the door and Bond
just charges through the wall.

294
00:15:37,978 --> 00:15:39,104
I thought that was great...

295
00:15:39,271 --> 00:15:42,190
...because that just tells
you everything about this guy.

296
00:15:42,649 --> 00:15:46,111
And I don't think that would
have been another Bond...

297
00:15:46,278 --> 00:15:48,572
...I think it's this
Bond who does that.

298
00:15:48,738 --> 00:15:51,783
And he just never gives
up, he gets bruised...

299
00:15:51,950 --> 00:15:54,327
He really suffers in this chase.

300
00:15:54,494 --> 00:15:58,039
And I guess that's very different
ultimately from, you know...

301
00:15:58,206 --> 00:16:01,042
...the character beat that was given
to Pierce Brosnan in GoldenEye...

302
00:16:01,209 --> 00:16:05,338
...which was to smash through a
wall and then straighten his tie...

303
00:16:05,505 --> 00:16:06,590
...that worked for him.

304
00:16:06,756 --> 00:16:11,553
This is a guy who gets
roughed up and just keeps going.

305
00:16:11,720 --> 00:16:14,347
So it tells you a lot
about that it's different...

306
00:16:14,514 --> 00:16:17,893
...and the energy of the
character keeps you going.

307
00:16:19,603 --> 00:16:20,937
Hi, my name's Gary Powell.

308
00:16:21,104 --> 00:16:24,274
He really does put a lot
of work into it, Daniel Craig.

309
00:16:24,441 --> 00:16:28,403
He'd done a lot of training beforehand,
he was with us every single day...

310
00:16:28,570 --> 00:16:30,739
...and because he was
busy on a previous job...

311
00:16:30,906 --> 00:16:32,407
...he'd come to us quite late.

312
00:16:32,574 --> 00:16:35,243
And he basically had a crash
course in parkour and fighting...

313
00:16:35,410 --> 00:16:37,996
...because, literally, in the
first month of filming we had...

314
00:16:38,163 --> 00:16:41,124
...a big fight scene to do and then
straight into the parkour sequence.

315
00:16:41,291 --> 00:16:44,753
So he really had to, sort of,
dig deep and put in some hours.

316
00:16:44,920 --> 00:16:46,560
So he was with us
for a few hours a day...

317
00:16:46,713 --> 00:16:48,840
...then he'd go off and
do the script side of things.

318
00:16:49,007 --> 00:16:51,384
Then he'd go off and do
his training side of things.

319
00:16:51,551 --> 00:16:53,929
So he did put in a lot of
work and it paid off for him.

320
00:16:54,095 --> 00:16:56,765
But it's quite funny, you know,
because everyone wants...

321
00:16:56,932 --> 00:16:59,412
...to get the film started sort
of thing, but we all thought...

322
00:16:59,559 --> 00:17:02,312
...we was gonna start off
with a nice bit of, sort of, acting.

323
00:17:02,479 --> 00:17:04,564
And it's like, no, we're
gonna start off with a bang.

324
00:17:04,731 --> 00:17:07,571
We're going straight into the fight
and all that. All the pressure's on.

325
00:17:07,692 --> 00:17:09,372
But it was probably
the best thing to do...

326
00:17:09,528 --> 00:17:12,488
...because everyone got to know
each other very quickly on the first day...

327
00:17:12,614 --> 00:17:15,283
...and it sort of set the
tempo for the rest of the film...

328
00:17:15,450 --> 00:17:17,786
...and it certainly never
calmed down from there.

329
00:17:18,119 --> 00:17:20,956
Now, I am Chris Corbould,
a special-effects supervisor...

330
00:17:21,122 --> 00:17:23,917
...and miniature-effects
supervisor on Casino Royale.

331
00:17:24,084 --> 00:17:28,129
We had to really get a lot of
bullet hits along the balcony...

332
00:17:28,296 --> 00:17:31,049
...as Daniel runs through
and Daniel was very specific...

333
00:17:31,216 --> 00:17:33,885
...that he wanted to do these,
being amongst these bullet hits.

334
00:17:34,052 --> 00:17:36,471
So every single bullet
hit we had to rig and test...

335
00:17:36,638 --> 00:17:39,474
...to make sure there was no
fragmentation gonna come out...

336
00:17:39,641 --> 00:17:42,018
...and hit Daniel or Sébastien.

337
00:17:42,185 --> 00:17:44,312
As you can see, he's
right in amongst it all...

338
00:17:44,479 --> 00:17:46,439
...as he runs along
this balcony now.

339
00:17:46,606 --> 00:17:50,735
I believe we rigged probably
something like 4 or 500 bullet hits...

340
00:17:50,902 --> 00:17:52,529
...when he was going along here.

341
00:17:52,696 --> 00:17:56,866
It was glass and the
wood flying everywhere.

342
00:17:57,033 --> 00:17:59,578
Daniel was absolutely great.

343
00:18:00,453 --> 00:18:03,290
The explosion that we rigged
for Dan in the courtyard...

344
00:18:03,456 --> 00:18:06,001
...we had to do many,
many times testing it...

345
00:18:06,167 --> 00:18:10,839
...because we really wanted all
this... The guys in amongst the flames.

346
00:18:11,881 --> 00:18:14,467
The added thing was that
we were shooting this...

347
00:18:14,634 --> 00:18:17,554
...inside a sound stage
so, you know, we...

348
00:18:17,721 --> 00:18:20,223
There are extra elements
of safety precautions...

349
00:18:20,390 --> 00:18:24,603
...that you have to be aware of
when you're doing it in a stage.

350
00:18:24,769 --> 00:18:28,982
And as you can see, the flames
actually wrap around each of the...

351
00:18:29,149 --> 00:18:30,692
Most of the guys in the shot.

352
00:18:32,694 --> 00:18:35,739
This is one explosion, I thought,
we got absolutely spot on, you know?

353
00:18:35,905 --> 00:18:38,065
There are a lot of explosions
where you look and think:

354
00:18:38,199 --> 00:18:41,453
"Oh, could have got a bit bigger,
could have done it a different way."

355
00:18:41,620 --> 00:18:45,624
But this, to me... I was absolutely
over the moon when I saw this shot.

356
00:18:46,041 --> 00:18:48,001
It was superb.

357
00:18:49,210 --> 00:18:54,215
I think they had to
digitally put a bit of roofing...

358
00:18:54,382 --> 00:18:56,885
...on top of one of the guys
because he was alight...

359
00:18:57,052 --> 00:18:59,888
...and they didn't wanna
show one of the guards alight...

360
00:19:00,055 --> 00:19:02,891
...and the stage
is still intact.

361
00:19:06,394 --> 00:19:09,272
This is Neal Purvis, I'm
one of the screenwriters.

362
00:19:09,439 --> 00:19:11,775
Robert Wade, one of
the other screenwriters.

363
00:19:11,941 --> 00:19:16,488
We wrote our version of this
with a building site and a crane.

364
00:19:16,655 --> 00:19:18,948
It was about two
pages long, wasn't it?

365
00:19:19,115 --> 00:19:24,663
But, you know, we weren't obviously
aware of what Sébastien could do...

366
00:19:24,829 --> 00:19:27,248
...and what the stunt
team can come up with.

367
00:19:27,415 --> 00:19:30,919
So they just took that environment
and built it up as big as they could go.

368
00:19:33,588 --> 00:19:35,882
While still keeping it
realistic, which is of course...

369
00:19:36,049 --> 00:19:38,426
...what the key thing
was to do with this film.

370
00:19:38,593 --> 00:19:41,388
This is the second
time we see Le Chiffre.

371
00:19:41,554 --> 00:19:44,140
What's great about this
villain, is he's very handsome...

372
00:19:44,307 --> 00:19:46,184
...80 it's not what you expect.

373
00:19:46,351 --> 00:19:48,395
He plays it like a real person.

374
00:19:48,561 --> 00:19:50,641
And the great thing about
the villain in this film...

375
00:19:50,772 --> 00:19:54,609
...Is that he's not a supervillain,
he's a person who's got problems.

376
00:19:54,776 --> 00:19:57,779
He made a mistake and he's
trying to recover from that mistake.

377
00:19:57,946 --> 00:20:00,782
In the novel, he's
very... Quite freakish.

378
00:20:00,949 --> 00:20:03,076
We wanted to have a
subtle freakishness...

379
00:20:03,243 --> 00:20:06,454
...which is this weeping
blood, which is an idea...

380
00:20:06,621 --> 00:20:09,874
...that seemed liked
a Fleming thing to us.

381
00:20:10,125 --> 00:20:13,044
Weeping blood comes merely
from a derangement of the tear duct...

382
00:20:13,211 --> 00:20:14,629
...my dear general.

383
00:20:15,588 --> 00:20:16,881
Nothing sinister.

384
00:20:18,133 --> 00:20:20,969
That word, "derangement"
we got from...

385
00:20:21,136 --> 00:20:24,139
There was a Patrick
McGoohan film called Scanners...

386
00:20:24,305 --> 00:20:29,602
...and we liked the way he
used the word "derangement”...

387
00:20:29,769 --> 00:20:33,565
...when he talks about the
derangement of the synapses.

388
00:20:33,732 --> 00:20:38,319
I think Bond villains are
key to every Bond film...

389
00:20:38,486 --> 00:20:42,824
...and we weren't sure
that we'd cracked it.

390
00:20:42,991 --> 00:20:48,663
It was a difficult one because
we were downscaling the villainy...

391
00:20:48,830 --> 00:20:51,666
...he's not trying to
take over the world...

392
00:20:52,083 --> 00:20:54,836
...which helps with
the realism thing.

393
00:20:55,670 --> 00:21:00,508
And we'd only really
given him this one quirk...

394
00:21:00,675 --> 00:21:03,303
...and what he's
worried about is money.

395
00:21:03,470 --> 00:21:09,267
So we were never absolutely sure
that we'd put enough down there.

396
00:21:09,434 --> 00:21:13,730
And I think that the
actor played it very well...

397
00:21:13,897 --> 00:21:17,025
...and gave it some realism.

398
00:21:20,695 --> 00:21:22,864
This is Callum McDougall again.

399
00:21:23,031 --> 00:21:25,074
I'm Peter Lamont.

400
00:21:25,742 --> 00:21:31,164
Prague really did work very well
for, you know, a multitude of locations.

401
00:21:31,331 --> 00:21:33,211
That was shot on location,
it wasn't even a set.

402
00:21:33,374 --> 00:21:35,418
It was shot on
location in Prague.

403
00:21:35,585 --> 00:21:38,755
Oh, that was a library
in a place called Strahov.

404
00:21:38,922 --> 00:21:41,549
Now, I defy anyone who
tells me that they think that...

405
00:21:41,716 --> 00:21:45,595
...that wasn't shot in... You
know, on a British location.

406
00:21:45,762 --> 00:21:49,516
This did have the look of House
of Commons, House of Lords.

407
00:21:49,682 --> 00:21:52,769
I think it came off very well.
I was very pleased with it.

408
00:21:59,150 --> 00:22:02,737
We all know where M's
office is in the real world.

409
00:22:02,904 --> 00:22:05,114
We'd never done
her house before.

410
00:22:05,281 --> 00:22:07,450
Other than what we did On
Her Majesty's Secret Service.

411
00:22:07,617 --> 00:22:09,577
We did do Bernard Lee's house...

412
00:22:09,744 --> 00:22:11,704
...which was down
on the river at Marlow...

413
00:22:11,871 --> 00:22:13,665
...where Bond comes
to meet him and they...

414
00:22:13,998 --> 00:22:16,000
He is interested
in lepidopterology.

415
00:22:16,167 --> 00:22:20,547
And my first thoughts were possibly
Georgian, something like that.

416
00:22:20,713 --> 00:22:23,550
And Martin kind of suggested,
"Well, why not a bit off beat?"

417
00:22:23,716 --> 00:22:25,593
So I thought, well,
if that's the case...

418
00:22:25,760 --> 00:22:29,264
...why, I think possibly, M should
live in somewhere like Canary Wharf...

419
00:22:29,430 --> 00:22:33,685
...somewhere a bit... A bit
off, not what you would expect.

420
00:22:33,852 --> 00:22:39,482
And the idea was that, when Bond
is tapped into her computer system...

421
00:22:39,649 --> 00:22:41,651
...that when she comes
in, the door doesn't open...

422
00:22:41,818 --> 00:22:45,530
...he hears a click and she's
coming out by a private elevator.

423
00:22:45,697 --> 00:22:50,034
And when she comes in,
she's in a position above Bond...

424
00:22:50,201 --> 00:22:52,036
...because where
he is sitting...

425
00:22:52,203 --> 00:22:57,041
The idea was that she's looking
always down at him until she comes.

426
00:22:57,208 --> 00:22:58,960
She comes down and
comes and sits with him.

427
00:22:59,127 --> 00:23:01,337
And, you know, I thought
it came off very well.

428
00:23:01,504 --> 00:23:04,799
It was nicely lit...

429
00:23:04,966 --> 00:23:09,178
...and beautifully furnished
and I was very pleased with it.

430
00:23:09,387 --> 00:23:11,097
You've got a bloody cheek.

431
00:23:11,264 --> 00:23:12,807
Sorry.

432
00:23:12,974 --> 00:23:14,809
I'll shoot the camera
first next time.

433
00:23:14,976 --> 00:23:16,644
Or yourself.

434
00:23:16,811 --> 00:23:18,897
You stormed into an embassy.

435
00:23:19,063 --> 00:23:21,649
You violated the only
absolutely inviolate rule...

436
00:23:21,816 --> 00:23:23,443
...of international
relationships.

437
00:23:23,610 --> 00:23:25,570
And why? So you
could kill a nobody.

438
00:23:25,737 --> 00:23:27,488
We wanted to question
him, not kill him.

439
00:23:27,947 --> 00:23:30,116
Hello, I'm Barbara
Broccoli, producer...

440
00:23:30,283 --> 00:23:33,828
...along with Michael
Wilson of Casino Royale.

441
00:23:33,995 --> 00:23:36,831
When Cubby and Harry first
got the rights to the Bond series...

442
00:23:36,998 --> 00:23:39,198
...they wanted to do Casino
Royale, because obviously...

443
00:23:39,334 --> 00:23:40,960
...it is the first
book in the series...

444
00:23:41,127 --> 00:23:44,505
...and it's the one that defines
the character of James Bond.

445
00:23:44,672 --> 00:23:47,091
The rights to that book were
not available so they decided...

446
00:23:47,258 --> 00:23:49,177
...to start the film
series with Dr. No.

447
00:23:49,344 --> 00:23:52,805
So when Michael and I got
the rights in the year 2000...

448
00:23:52,972 --> 00:23:54,891
...we obviously
wanted to make it...

449
00:23:55,058 --> 00:23:57,852
...because it is the
definitive James Bond story.

450
00:23:58,019 --> 00:24:01,814
It was a difficult decision and
it was a, sort of, terrifying one...

451
00:24:01,981 --> 00:24:07,028
...because it meant that we were going
to completely reinvent the film series.

452
00:24:07,195 --> 00:24:11,282
And we started that
process by sort of saying...

453
00:24:11,449 --> 00:24:13,910
...let's just start from the
beginning with a clean slate.

454
00:24:14,077 --> 00:24:17,038
We sat down with Rob
Wade and Neal Purvis...

455
00:24:17,205 --> 00:24:21,084
...and we spent about a year
developing the screenplay.

456
00:24:21,250 --> 00:24:23,544
So Rob and Neal
did the first draft...

457
00:24:23,711 --> 00:24:27,757
...and at that point we had to
decide who was gonna direct it.

458
00:24:27,924 --> 00:24:29,968
And we had approached
Martin Campbell many times...

459
00:24:30,134 --> 00:24:32,053
...since GoldenEye,
to come back...

460
00:24:32,220 --> 00:24:34,889
...but this time he
accepted it because he felt...

461
00:24:35,056 --> 00:24:37,433
...that he was gonna be
there at a critical time...

462
00:24:37,600 --> 00:24:41,270
...when we were reinventing
James Bond for the 21st century.

463
00:24:41,437 --> 00:24:43,356
He wanted to bring
on Paul Haggis...

464
00:24:43,523 --> 00:24:46,401
...and, you know, Paul
Haggis had just done Crash...

465
00:24:46,567 --> 00:24:48,903
...and, you know, a fantastic
film, he was a great writer.

466
00:24:49,070 --> 00:24:52,573
And so we sent him the script
that Rob and Neal had written...

467
00:24:52,740 --> 00:24:54,325
...which he liked very much...

468
00:24:54,492 --> 00:24:58,746
...and he really got excited about
being able to contribute to the movie.

469
00:24:58,913 --> 00:25:02,583
Those were the first very
important decisions to make.

470
00:25:02,750 --> 00:25:06,004
But then, of course, the
ultimate decision was:

471
00:25:06,170 --> 00:25:09,465
Who was going to take
on the role of James Bond?

472
00:25:09,632 --> 00:25:13,886
And reinvent it, make it
his own, make it different.

473
00:25:14,053 --> 00:25:18,599
And, in my mind, the only person who
was able to do that was Daniel Craig.

474
00:25:18,766 --> 00:25:21,561
He was the only
person I could think of...

475
00:25:21,728 --> 00:25:26,315
...that could do what
we needed to have done.

476
00:25:26,482 --> 00:25:29,527
And he proved to be
an exceptional choice.

477
00:25:29,694 --> 00:25:33,197
I don't think there's anybody else
who could have done what he's done.

478
00:25:33,364 --> 00:25:35,867
And the whole world
seems to agree with us.

479
00:26:03,311 --> 00:26:07,065
Hi, this is Callum. I'm the executive
producer on Casino Royale.

480
00:26:09,150 --> 00:26:10,610
The Bahamas was fantastic.

481
00:26:10,777 --> 00:26:12,820
We were filming on
the island of Nassau.

482
00:26:12,987 --> 00:26:17,158
And the great thing
about Nassau is...

483
00:26:17,325 --> 00:26:18,993
...it does have very
modern buildings...

484
00:26:19,160 --> 00:26:22,163
...but it also does have a lot
of very glamorous locations.

485
00:26:25,333 --> 00:26:28,002
Hello, I'm Lindy Hemming,
and I'm the costume designer...

486
00:26:28,169 --> 00:26:33,674
...for Casino Royale and
the previous four Bond films.

487
00:26:34,801 --> 00:26:38,763
Here we've got Daniel Craig
arriving at the One&Only Club.

488
00:26:38,846 --> 00:26:43,184
And he's wearing a kind of
slightly uncharacteristic shirt.

489
00:26:43,351 --> 00:26:44,727
But the reason
he's wearing it...

490
00:26:44,894 --> 00:26:47,688
...Is because we have to
confuse him in a minute...

491
00:26:47,855 --> 00:26:49,732
...with a security guard.

492
00:26:49,899 --> 00:26:52,860
So we designed a shirt
for him and had it made...

493
00:26:53,027 --> 00:26:55,863
...and we kind of
added the epaulettes.

494
00:26:56,030 --> 00:27:02,203
The... Meeting up here is two sort
of fairly cartoonish German tourists...

495
00:27:02,370 --> 00:27:04,288
...who are about
to go off to play golf.

496
00:27:04,455 --> 00:27:09,127
And we dressed them in
an homage to Pringle really.

497
00:27:09,293 --> 00:27:13,381
And colourfully, which is
something you can't do very much...

498
00:27:13,548 --> 00:27:15,883
...in a realistic Bond film.

499
00:27:16,050 --> 00:27:20,096
But they were on the screen for such
a short time that we thought we could.

500
00:27:27,562 --> 00:27:30,064
This is one of the
first times in this film...

501
00:27:30,231 --> 00:27:32,233
...that we see him
looking at all tailored.

502
00:27:32,400 --> 00:27:35,027
When he steps
off the aeroplane...

503
00:27:35,194 --> 00:27:38,406
...you see that he's already
just starting his smart look.

504
00:27:38,573 --> 00:27:41,576
Whereas before, he's
always been really rough...

505
00:27:41,742 --> 00:27:47,039
...and looking like embedded
kind of in whatever was going on.

506
00:27:48,249 --> 00:27:50,001
Absolutely incredible.

507
00:27:50,835 --> 00:27:55,423
This shirt, you can't buy it. It
was made especially for him.

508
00:27:55,590 --> 00:27:57,675
And it's made of Indian cotton.

509
00:27:58,301 --> 00:28:01,262
Lightweight, with a bit of a
pattern to give it a bit of texture...

510
00:28:01,429 --> 00:28:03,181
...when you are
looking at the film.

511
00:28:03,556 --> 00:28:06,517
And, of course, as you can
see, we've cut the sleeves...

512
00:28:06,684 --> 00:28:09,729
...So that they come to
the optimum part on his arm.

513
00:28:09,896 --> 00:28:11,772
And I think it
looks quite sexy...

514
00:28:11,939 --> 00:28:16,110
...even though it's something
akin to a uniform shirt.

515
00:28:21,782 --> 00:28:24,827
He's watching the
security cameras...

516
00:28:24,994 --> 00:28:28,456
...for a couple arriving now...

517
00:28:28,623 --> 00:28:31,584
...which is Dimitrios
and his wife, Solange.

518
00:28:31,751 --> 00:28:35,046
And they are... I
had to dress them...

519
00:28:35,213 --> 00:28:38,799
...as the sort of really kind
of stereotypical new money...

520
00:28:38,966 --> 00:28:41,302
...on-the-holiday-in-the-Bahamas
couple.

521
00:28:41,469 --> 00:28:45,973
And she wears a La Perla top...

522
00:28:46,140 --> 00:28:50,978
...which is falling off her
sort of bustier underneath.

523
00:28:51,145 --> 00:28:54,440
And we're setting her up,
Gucci trousers and high heels...

524
00:28:54,607 --> 00:28:59,737
We're setting her up as, you
know, to be a little bit sexy...

525
00:28:59,904 --> 00:29:01,239
...a little bit
naughty, I think.

526
00:29:01,405 --> 00:29:04,492
And certainly with
a lot of new money...

527
00:29:04,659 --> 00:29:06,494
...or a lot of ill-gotten
gained money.

528
00:29:06,661 --> 00:29:08,788
And Dimitrios is very similar.

529
00:29:08,955 --> 00:29:12,333
We made all his suits, and he's
wearing a sort of silk and linen suit.

530
00:29:12,500 --> 00:29:18,506
And, I'd say, not a very
tasteful combination of colours.

531
00:29:20,049 --> 00:29:23,052
My name's Stuart Baird,
I'm the editor of Casino...

532
00:29:23,219 --> 00:29:25,429
Well, I was the editor
of Casino Royale.

533
00:29:25,596 --> 00:29:30,017
It's very difficult to talk about editing
because each decision you make...

534
00:29:30,184 --> 00:29:33,271
...Is purely determined
by the material...

535
00:29:33,437 --> 00:29:36,732
...and by the speed of
the actors speaking...

536
00:29:36,899 --> 00:29:40,194
...or how he used the
props, or all sorts of things.

537
00:29:40,361 --> 00:29:44,031
In my cutting room, I have
a large screen as well...

538
00:29:44,198 --> 00:29:47,368
...because we cut
nowadays on these TVs.

539
00:29:47,535 --> 00:29:49,662
Which means you don't
get it into the theatre...

540
00:29:49,829 --> 00:29:51,747
...which we used
to when we had film.

541
00:29:51,914 --> 00:29:53,594
You'd always be
taking it to the theatre...

542
00:29:53,749 --> 00:29:55,376
...and you'd see
it on a big screen.

543
00:29:55,543 --> 00:29:57,920
So nowadays I have a
projector in the theatre...

544
00:29:58,087 --> 00:30:00,881
...which projects
off my machine...

545
00:30:01,048 --> 00:30:04,719
...my digital machine, on to a
10-foot screen in the cutting room.

546
00:30:04,885 --> 00:30:08,681
So I have a decent feel of the
size of, the scale of the picture.

547
00:30:08,848 --> 00:30:11,517
And it does help a great deal...

548
00:30:11,684 --> 00:30:13,561
...to get the pacing
right for a big screen.

549
00:30:13,728 --> 00:30:17,857
Because it's very different if you're
cutting for a small screen, like a TV.

550
00:30:18,024 --> 00:30:20,860
Or if you're cutting on
a... For a 60-foot screen.

551
00:30:23,279 --> 00:30:25,031
Hello, I'm Lindy Hemming.

552
00:30:25,197 --> 00:30:27,533
We spent a lot of time
just in discussion...

553
00:30:27,700 --> 00:30:31,495
...at the beginning of the film,
thinking about the whole beach scene.

554
00:30:31,662 --> 00:30:33,914
Because, you know, it
is a kind of Bond thing...

555
00:30:34,081 --> 00:30:35,916
...to have pretty
ladies in bikinis.

556
00:30:36,083 --> 00:30:38,794
But, this time, I think we
concentrated really hard.

557
00:30:38,961 --> 00:30:42,590
Barbara Broccoli, the producer, and
Martin Campbell, the director, and I...

558
00:30:42,757 --> 00:30:44,258
...had quite a lot
of conversation...

559
00:30:44,425 --> 00:30:47,136
...about what Bond would
look like coming out of the sea.

560
00:30:47,303 --> 00:30:53,559
And I was determined, in a way, to
give him the briefest possible trunks...

561
00:30:53,726 --> 00:30:56,604
...and to make
him look as sexy...

562
00:30:56,771 --> 00:30:59,065
...and in competition
directly, I think...

563
00:30:59,231 --> 00:31:02,193
...with any of the Halle Berry
or Ursula Andress images.

564
00:31:02,360 --> 00:31:06,614
And in his La Perla swimming
trunks, I think it works.

565
00:31:07,782 --> 00:31:09,283
Hello, I'm Peter Lamont.

566
00:31:09,450 --> 00:31:10,951
When we came to her bedroom...

567
00:31:11,118 --> 00:31:12,718
...nobody's ever seen
her bedroom before.

568
00:31:12,870 --> 00:31:14,330
And that was very offbeat.

569
00:31:14,497 --> 00:31:16,582
And I did try to talk
Baird into black sheets...

570
00:31:16,749 --> 00:31:19,126
...but it was
going a bit too far.

571
00:31:19,293 --> 00:31:21,545
There were leather
walls, and, you know...

572
00:31:21,712 --> 00:31:24,131
...the whole gadgetry with
the side of her bed, you know?

573
00:31:24,298 --> 00:31:27,718
And there were designer
pieces, and things like that.

574
00:31:27,885 --> 00:31:31,597
But it wants to be
practical, as well as a home.

575
00:31:32,932 --> 00:31:36,811
In this scene, Judi Dench...

576
00:31:36,977 --> 00:31:42,983
We decided to dress
her in a red satin pyjamas.

577
00:31:43,150 --> 00:31:46,112
Because we thought it
would actually be quite fun...

578
00:31:46,278 --> 00:31:47,655
...to know what M wears in bed.

579
00:31:47,822 --> 00:31:52,326
That it wouldn't be something
boring or, you know, sort of serious.

580
00:31:52,493 --> 00:31:56,247
That she breaks out and goes
into a bit of red satin at night.

581
00:31:56,414 --> 00:32:00,668
There was a lot of discussion about
who was in bed with M at this point.

582
00:32:00,835 --> 00:32:03,462
And we sort of varied
between saying...

583
00:32:03,629 --> 00:32:05,549
...that we would know
who it was and we wouldn't.

584
00:32:05,673 --> 00:32:08,259
And now he's become
a kind of invisible man.

585
00:32:08,426 --> 00:32:11,887
We don't really know
much about M's partner.

586
00:32:16,392 --> 00:32:19,353
In the scenes where there
was gambling in the Bahamas...

587
00:32:19,520 --> 00:32:22,273
...we had a good opportunity
of dressing people...

588
00:32:22,440 --> 00:32:24,650
...In a much more
bohemian, American...

589
00:32:24,817 --> 00:32:27,194
...casual way of evening dress.

590
00:32:27,361 --> 00:32:31,031
Especially Daniel Craig, who didn't
obviously have to wear his tuxedo.

591
00:32:31,198 --> 00:32:34,076
Because that's how people
dress there. They don't dress up.

592
00:32:34,243 --> 00:32:36,495
They kind of put
something expensive on...

593
00:32:36,662 --> 00:32:43,335
...rather than something very,
what we'd call traditionally eveningy.

594
00:32:46,213 --> 00:32:49,925
We borrowed a lot of clothes from
different designers for this sequence.

595
00:32:50,092 --> 00:32:56,765
And we had this dress made by,
for Solange by Jenny Packham.

596
00:32:59,226 --> 00:33:06,108
She had got a dress in her collection,
which was this beautiful satin...

597
00:33:06,275 --> 00:33:09,403
...with a fantastic
lacing at the back.

598
00:33:09,570 --> 00:33:12,281
And we asked her if
we could have it made...

599
00:33:12,448 --> 00:33:15,951
...in this fantastic
pomegranate colour.

600
00:33:16,118 --> 00:33:19,955
And she pulled out all the stops,
and had it made in Hong Kong...

601
00:33:20,122 --> 00:33:25,920
...shipped to us in something
crazy, like five dresses in three weeks.

602
00:33:26,170 --> 00:33:27,671
Check or bet.

603
00:33:28,214 --> 00:33:30,466
I wanted it desperately,
because I thought...

604
00:33:30,633 --> 00:33:33,928
...that it's the sex scene which
follows with Solange and Bond...

605
00:33:34,094 --> 00:33:38,641
...after the casino... It would
be a marvellous filmic thing...

606
00:33:38,807 --> 00:33:41,519
...to look at the back,
as she's on top of Bond.

607
00:33:41,685 --> 00:33:44,021
Which I was told she
would be on top of him...

608
00:33:44,188 --> 00:33:46,440
...rather than
him on top of her.

609
00:33:48,734 --> 00:33:51,111
-Check.
-Check to you, sir.

610
00:33:51,529 --> 00:33:54,615
Here we see Dimitrios.

611
00:33:54,782 --> 00:33:56,617
I tried to make him look like...

612
00:33:56,784 --> 00:34:01,205
...a bit of a bad character,
a sort of criminal...

613
00:34:01,372 --> 00:34:03,624
...but expensively-dressed
character.

614
00:34:03,791 --> 00:34:07,878
And so knowing that the things
he's wearing cost a lot of money...

615
00:34:08,045 --> 00:34:12,091
...but the way he's put them together
doesn't really look very elegant.

616
00:34:12,258 --> 00:34:14,635
...no. Give him a chance
to win his money back.

617
00:34:22,351 --> 00:34:25,479
Daniel Craig, in the
bohemian gambling scene...

618
00:34:25,646 --> 00:34:29,650
...wears a heavy, navy-blue silk
shirt, which I had made for him.

619
00:34:29,817 --> 00:34:33,904
And he wears it in a sort of
slightly Steve McQueen way...

620
00:34:34,071 --> 00:34:39,493
...outside his trousers, and it doesn't...
It's a cropped-off shirt, so it's short...

621
00:34:39,660 --> 00:34:41,912
...which he wears
with the linen pants.

622
00:34:42,079 --> 00:34:44,832
So obviously he,
his character, Bond...

623
00:34:44,999 --> 00:34:49,878
...doesn't really find going
into this place very intimidating...

624
00:34:50,045 --> 00:34:53,007
...and he just
dresses up minimally.

625
00:34:54,174 --> 00:34:55,676
Thank you.

626
00:34:55,843 --> 00:34:57,344
Sir.

627
00:35:19,033 --> 00:35:20,260
The reason for
her... For wanting...

628
00:35:20,284 --> 00:35:22,369
...the dress to be made in
the pomegranate colour...

629
00:35:22,536 --> 00:35:26,540
...was her skin tone, which I looked
at a lot of fabrics against her body.

630
00:35:26,707 --> 00:35:31,045
And I thought that the pomegranate
was particularly vivacious...

631
00:35:31,211 --> 00:35:33,631
...and right for her
character, and suited her.

632
00:35:33,797 --> 00:35:38,594
And also because I knew that most
of this scene would be shot at night.

633
00:35:38,761 --> 00:35:40,721
And so, I think... I
wanted a colour...

634
00:35:40,888 --> 00:35:43,390
...that would light
beautifully in the darkness...

635
00:35:43,557 --> 00:35:45,351
...and would contrast
with the greens...

636
00:35:45,517 --> 00:35:48,479
...and the sort of jungley
effect of the Bahamas.

637
00:35:49,396 --> 00:35:54,068
And I also kind of just
really liked the colour.

638
00:35:54,234 --> 00:35:55,819
I thought it was
a fantastic colour.

639
00:35:55,986 --> 00:35:57,988
And it's an opportunity
to use colour...

640
00:35:58,155 --> 00:36:01,492
...which often times you
can't really use a vibrant colour.

641
00:36:01,575 --> 00:36:03,577
It's too much for the scene.

642
00:36:03,619 --> 00:36:05,537
As soon as we'd
chosen that colour...

643
00:36:05,746 --> 00:36:09,083
...we had to kind of limit
the colours in the room.

644
00:36:09,249 --> 00:36:12,294
And make sure that all the time,
wherever she sat in the room...

645
00:36:12,461 --> 00:36:14,213
...she would be a focus.

646
00:36:14,380 --> 00:36:17,257
So Bond would... Apart from
the fact she's really beautiful...

647
00:36:17,424 --> 00:36:22,262
...Bond would automatically be
able to see her in the crowd of people.

648
00:36:22,429 --> 00:36:26,517
So you use other colours
which subtly, you hope...

649
00:36:26,684 --> 00:36:28,727
...would work with
the pomegranate.

650
00:36:28,894 --> 00:36:31,438
But you never get
really close to that colour.

651
00:36:31,605 --> 00:36:35,776
So as you'll see in the
film, it lets her stand out.

652
00:36:37,027 --> 00:36:39,279
Goes well with the
Aston Martin as well.

653
00:36:39,446 --> 00:36:40,846
Good evening, sir,
and welcome back.

654
00:36:40,906 --> 00:36:42,825
Welcome to my home.

655
00:36:55,045 --> 00:36:58,132
I'm having a hard time
seeing how this is my fault.

656
00:36:58,298 --> 00:37:01,009
It's your plan. All I did
was get you the man.

657
00:37:01,969 --> 00:37:06,515
Originally, Le Chiffre, I
think was... We were kind of...

658
00:37:06,682 --> 00:37:10,060
...a little bit, we didn't really
quite know what to do with him...

659
00:37:10,227 --> 00:37:13,981
...because he is a
very slim, tall actor.

660
00:37:14,148 --> 00:37:18,610
And his face is the main
focus of who Le Chiffre is.

661
00:37:18,777 --> 00:37:21,905
So we opted to dress
him really expensively...

662
00:37:22,072 --> 00:37:23,699
...but very, very minimally.

663
00:37:23,866 --> 00:37:28,454
And most of the time, he either
wears navy or cream or black.

664
00:37:28,620 --> 00:37:31,707
And I think that that
was a definite decision...

665
00:37:31,874 --> 00:37:34,334
...So that it was always
his face that was in focus.

666
00:37:34,501 --> 00:37:38,589
Of course, you know, you tailor
to his body shape and everything.

667
00:37:38,756 --> 00:37:41,175
Keeping... Trying to
keep him nice and slim...

668
00:37:41,341 --> 00:37:43,802
...and make him look
as tall as possible...

669
00:37:43,969 --> 00:37:47,014
...which adds to his menace.

670
00:37:47,181 --> 00:37:50,142
But very modern things he had.

671
00:37:50,309 --> 00:37:53,687
And most of them were
designed and made for him.

672
00:37:54,354 --> 00:37:57,065
Why can't nice guys
be more like you?

673
00:37:57,232 --> 00:37:59,526
Well, because
then they'd be bad.

674
00:38:00,402 --> 00:38:02,780
Yes.

675
00:38:05,491 --> 00:38:08,368
But so much more interesting.

676
00:38:08,619 --> 00:38:11,872
Of course, when you do Bond
films, everybody wants to offer you...

677
00:38:12,039 --> 00:38:14,333
...Jewellery to
use in the scenes.

678
00:38:14,500 --> 00:38:16,960
And I think, on Solange,
it's a good example:

679
00:38:17,127 --> 00:38:19,546
We used jewellery by
a company called Fred.

680
00:38:19,713 --> 00:38:22,216
And they let us borrow it.

681
00:38:22,382 --> 00:38:24,676
It was thousands of pounds
worth. And at one point...

682
00:38:24,843 --> 00:38:27,262
...in my hotel safe
in the Bahamas...

683
00:38:27,429 --> 00:38:32,184
...there was about three-quarters of
a million pounds worth of jewellery...

684
00:38:32,351 --> 00:38:35,771
...just locked in
a box in the hotel.

685
00:38:35,938 --> 00:38:38,816
And I was really nervous and
worried about it all the time.

686
00:38:38,982 --> 00:38:41,944
It looks really, really good
on Solange, that jewellery.

687
00:38:42,110 --> 00:38:43,403
It was the right choice.

688
00:38:43,570 --> 00:38:45,364
Can I ask you a
personal question?

689
00:38:47,032 --> 00:38:49,576
Now would seem
an appropriate time.

690
00:38:49,743 --> 00:38:53,872
This is where I think the
dress just looks fantastic.

691
00:38:54,039 --> 00:38:57,751
Because it's so slinky and sexy.

692
00:38:59,086 --> 00:39:00,587
Yeah.

693
00:39:02,631 --> 00:39:04,633
Should I ask him about it?

694
00:39:04,800 --> 00:39:07,177
Perhaps later.

695
00:39:07,344 --> 00:39:10,931
Now, you can see why we used
the pomegranate-coloured satin there.

696
00:39:11,098 --> 00:39:13,767
Because it's giving a
fantastic lighting quality.

697
00:39:13,934 --> 00:39:17,312
And, for instance, if she was in
a black dress or a dark dress...

698
00:39:17,479 --> 00:39:20,566
...you wouldn't get the silhouetting
of his body the way you do...

699
00:39:20,732 --> 00:39:25,320
...and you wouldn't get that
sexy drapery and lighting quality.

700
00:39:25,487 --> 00:39:26,572
Yeah.

701
00:39:26,822 --> 00:39:29,199
...have all night
to question me.

702
00:39:29,783 --> 00:39:31,910
I think satin tells you...

703
00:39:32,077 --> 00:39:34,246
...that somebody's
trying to be sexy anyway.

704
00:39:34,413 --> 00:39:36,915
It sort of gives you a
slightly underwear feeling...

705
00:39:37,082 --> 00:39:39,459
...without her
being in underwear.

706
00:39:40,794 --> 00:39:43,505
This is Callum McDougall,
executive producer, again.

707
00:39:43,672 --> 00:39:47,384
So the sequence where
Bond gets the phone call...

708
00:39:47,551 --> 00:39:49,595
...that he's off to Miami...

709
00:39:49,761 --> 00:39:54,808
The sequence of events was that
we shot Bond in his hotel room...

710
00:39:54,975 --> 00:39:58,979
...where he was on vacation in
the One&Only Club in Nassau.

711
00:39:59,146 --> 00:40:02,232
He comes out.
He gets in the car.

712
00:40:03,692 --> 00:40:07,279
And he drives off. And the next
time you cut is actually to Miami.

713
00:40:07,446 --> 00:40:10,157
We did that with a
very, very small unit.

714
00:40:10,324 --> 00:40:12,743
We shot it on high definition.

715
00:40:12,910 --> 00:40:14,036
We had no lighting.

716
00:40:14,202 --> 00:40:17,748
It was Alexander Witt, our
second unit director, shot it.

717
00:40:17,915 --> 00:40:20,167
He also shot plates
that we could use...

718
00:40:20,334 --> 00:40:21,974
...because there was
scenes in the taxi...

719
00:40:22,127 --> 00:40:24,588
...where you see Bond
following Dimitrios.

720
00:40:24,755 --> 00:40:29,343
And we shot the inside
of the car, in Prague.

721
00:40:29,509 --> 00:40:32,638
And the plates we
shot in Miami with Alex.

722
00:40:32,804 --> 00:40:38,393
And then you see Bond pull up at
the Bodyworlds exhibition in Miami.

723
00:40:38,560 --> 00:40:40,312
Hello, I'm Peter Lamont.

724
00:40:40,479 --> 00:40:43,357
The exterior of Bodyworks
was the Ministry of Transport...

725
00:40:43,523 --> 00:40:45,192
...on the river in Prague.

726
00:40:45,776 --> 00:40:50,781
The Bodyworlds exhibition is shot
on a very, very cold winter's night.

727
00:40:50,948 --> 00:40:53,283
I think a lot of people didn't
think they were real bodies.

728
00:40:53,450 --> 00:40:54,701
They are real bodies, you know?

729
00:40:54,868 --> 00:40:57,371
And they did create
a tableau for us...

730
00:40:57,537 --> 00:41:01,875
...which was the three
people playing poker.

731
00:41:03,627 --> 00:41:05,629
The inside of the
Bodyworlds exhibition...

732
00:41:05,796 --> 00:41:07,381
...was done earlier in the year.

733
00:41:07,547 --> 00:41:10,884
And it was even colder, in a
building that had no central heating.

734
00:41:11,343 --> 00:41:13,783
And, again, we had all these
people walking around in there...

735
00:41:13,929 --> 00:41:16,890
...kind of summer,
kind of skimpy clothing.

736
00:41:25,148 --> 00:41:27,484
Hello, I'm Barbara Broccoli.

737
00:41:28,110 --> 00:41:30,237
The history of the Bond
films have been such...

738
00:41:30,404 --> 00:41:32,364
...that they've gone
through cycles.

739
00:41:32,531 --> 00:41:34,700
And, to Michael and I,
it became very clear...

740
00:41:34,866 --> 00:41:37,369
...that we were at the
end of another cycle.

741
00:41:37,536 --> 00:41:39,162
At the end of Die Another Day.

742
00:41:40,414 --> 00:41:43,041
And, so we had a
break, we had some time.

743
00:41:43,375 --> 00:41:46,586
The only way forward was
to go back to Casino Royale.

744
00:41:46,753 --> 00:41:49,840
I mean, what my father
had always said to me was:

745
00:41:50,007 --> 00:41:52,634
"Whenever you're stuck,
just go back to Fleming."

746
00:41:52,801 --> 00:41:55,512
And that's something we,
you know, I've always done.

747
00:41:55,679 --> 00:41:57,347
Whenever we're in
a script conference...

748
00:41:57,514 --> 00:41:59,314
...or we're trying to
figure out what to do...

749
00:41:59,433 --> 00:42:01,768
...I start scanning in
my brain: "Fleming.

750
00:42:01,935 --> 00:42:03,186
What would Fleming do?

751
00:42:03,353 --> 00:42:06,106
What is a Fleming way of
getting out of this situation?"

752
00:42:06,273 --> 00:42:08,608
And then you'll refer to
it, one of the other novels.

753
00:42:08,775 --> 00:42:12,112
And you'll say, "Well, in
Goldfinger, this is what he did.

754
00:42:12,279 --> 00:42:14,781
Now, how do we apply
that to this situation?"

755
00:42:16,324 --> 00:42:18,076
So in the strictest sense...

756
00:42:18,243 --> 00:42:19,578
...we went back to Fleming.

757
00:42:19,745 --> 00:42:22,956
We went back to the original
book, the original source.

758
00:42:23,123 --> 00:42:25,625
And also, I think it was
the right time in the world...

759
00:42:25,792 --> 00:42:28,628
...because these films have always
reflected the times they've been in.

760
00:42:29,463 --> 00:42:31,673
...fixed in dramatic
and athletic poses...

761
00:42:34,885 --> 00:42:38,346
My name is Paul Haggis. I
did a rewrite on Casino Royale.

762
00:42:38,513 --> 00:42:40,682
I leapt at the
chance to do this.

763
00:42:40,849 --> 00:42:43,310
I was in a position where
I could do what I wanted.

764
00:42:43,477 --> 00:42:45,479
I could write and produce
and direct what I wanted.

765
00:42:45,645 --> 00:42:48,148
But I never thought that
anyone would offer me...

766
00:42:48,315 --> 00:42:52,235
...a James Bond film to
write. I just never thought it.

767
00:42:52,402 --> 00:42:53,528
I got to live the fiction.

768
00:42:53,695 --> 00:42:56,364
I got to live what we live
sitting in the movie theatre.

769
00:42:56,531 --> 00:42:58,825
I got to pretend, you know...

770
00:42:58,992 --> 00:43:00,744
...that I was this guy.
It's what we all do.

771
00:43:00,911 --> 00:43:03,413
We sit there and we pretend,
"Oh, yeah, I could get that girl.

772
00:43:03,580 --> 00:43:07,334
And I could kill that guy. And
I'd be smart enough to do that.

773
00:43:07,501 --> 00:43:11,171
And I'd be ruthless enough to do
this. And would I be? I don't know."

774
00:43:11,338 --> 00:43:13,381
And that's the dream,
that we sit in the dark.

775
00:43:13,548 --> 00:43:18,720
And I got to do that, you know,
sit and write. And, so much fun.

776
00:43:20,138 --> 00:43:24,309
I started writing, or rewriting, the script
in the summer of that year, in Italy.

777
00:43:24,476 --> 00:43:27,187
And then continued in New York,
and then back here in Los Angeles.

778
00:43:27,354 --> 00:43:28,897
And then handed the script in.

779
00:43:29,064 --> 00:43:30,784
It took me about 10
weeks to write a script.

780
00:43:30,941 --> 00:43:32,776
I did a rewrite in that time.

781
00:43:32,943 --> 00:43:35,862
And then Martin would
call me from the set.

782
00:43:36,029 --> 00:43:39,491
And I'd, you know, send him in little
rewrites and send him adjustments.

783
00:43:39,658 --> 00:43:41,993
But it was... He was
very faithful to the script.

784
00:43:42,160 --> 00:43:44,760
He didn't... They didn't change
much. He cut it down a little bit.

785
00:43:44,871 --> 00:43:47,541
But, no, they were
lovely with me.

786
00:43:47,707 --> 00:43:50,085
They really shot what I wrote,
what I rewrote, what I added.

787
00:43:50,252 --> 00:43:52,732
And then certainly a lot of what
Purvis and Wade wrote as well.

788
00:43:52,879 --> 00:43:56,800
They brought all the bones,
the structure that worked so well.

789
00:43:58,009 --> 00:44:01,888
So when they first approached me,
Barbara and Michael and Martin...

790
00:44:02,055 --> 00:44:04,057
...discussed what their
idea was for the film...

791
00:44:04,224 --> 00:44:06,810
...how they wanted to
go back to Bond's roots...

792
00:44:06,977 --> 00:44:10,063
...find a purer expression
of who James Bond was.

793
00:44:10,230 --> 00:44:12,732
And so that was all they
really needed to go off with.

794
00:44:12,899 --> 00:44:15,527
Because it pretty much
states what we're gonna...

795
00:44:15,694 --> 00:44:17,070
...you know, what this film is.

796
00:44:17,237 --> 00:44:20,574
It's a real pure expression
of lan Fleming's concept...

797
00:44:20,740 --> 00:44:23,827
...for this brute assassin.

798
00:44:26,997 --> 00:44:30,667
They had the script, and then
they knew the strengths of that script.

799
00:44:30,834 --> 00:44:36,006
And they knew its weaknesses.
And they really wanted to dig deep.

800
00:44:36,339 --> 00:44:40,468
And so we, you know, have
our little fights, back and forth.

801
00:44:40,635 --> 00:44:43,305
Friendly fights and
arguments about this or that.

802
00:44:43,471 --> 00:44:46,516
And argue things out. And it was
a really creative way of working.

803
00:44:46,683 --> 00:44:47,767
I love that.

804
00:44:47,934 --> 00:44:52,606
So you know, Barbara would steer
me to certain phrases in the book.

805
00:44:52,772 --> 00:44:56,151
And things M would
say about Bond.

806
00:44:56,318 --> 00:44:58,820
And there I go, "Oh, I get it."

807
00:44:58,987 --> 00:45:00,627
Martin would do the
same as Michael would.

808
00:45:00,780 --> 00:45:05,035
And so, those key phrases
that we pulled from the book...

809
00:45:05,202 --> 00:45:09,206
...gave us hints at how
to develop character.

810
00:45:09,372 --> 00:45:11,625
And how to see deeper
into who he was, and to see...

811
00:45:11,791 --> 00:45:13,460
So open up that
crack in his soul.

812
00:45:13,627 --> 00:45:15,337
Because, I mean, his
soul is just hardened.

813
00:45:15,503 --> 00:45:17,303
But there's this...
There was a crack in it...

814
00:45:17,422 --> 00:45:20,175
...and we wanted to just pry
it open and look inside, and...

815
00:45:20,342 --> 00:45:22,302
It's something that
I'm trying to subvert.

816
00:45:22,469 --> 00:45:25,805
There's a simplicity in Bond
that I think we've returned to.

817
00:45:26,556 --> 00:45:30,018
And I wanted to try and make
that simplicity a tad more complex.

818
00:45:30,894 --> 00:45:33,688
Because I thought, today,
that's what we really look for.

819
00:45:33,855 --> 00:45:35,649
We look for those heroes.

820
00:45:35,815 --> 00:45:38,360
But we look for
ourselves in those heroes.

821
00:45:38,526 --> 00:45:39,903
And we know our flaws.

822
00:45:40,070 --> 00:45:42,322
We know how flawed we are,
whether we admit them or not.

823
00:45:42,489 --> 00:45:46,868
And so we look for
those flaws in our heroes.

824
00:45:47,035 --> 00:45:50,664
And we don't excuse them, but
we want to empathise with them.

825
00:45:50,830 --> 00:45:56,294
We want to say, "Yeah, I could be
that guy, you know, in a different life."

826
00:45:56,461 --> 00:46:00,757
And so that's what I'm
trying to make him: human.

827
00:46:10,141 --> 00:46:11,184
This is Alexander Witt.

828
00:46:11,351 --> 00:46:13,311
I was the
second-unit director...

829
00:46:13,478 --> 00:46:16,773
...and second-unit director of
photography on Casino Royale.

830
00:46:20,151 --> 00:46:24,698
This is our scene which takes
place at the airport in Miami.

831
00:46:24,864 --> 00:46:28,702
And it's a location that was
shot in three different countries...

832
00:46:28,868 --> 00:46:34,040
...which was Czechoslovakia
and England and Florida.

833
00:46:36,167 --> 00:46:37,377
I gotta go.

834
00:46:40,964 --> 00:46:45,051
The beginning of this scene
is all shot in Czechoslovakia.

835
00:46:46,261 --> 00:46:48,888
The interiors and
part of the exteriors...

836
00:46:49,055 --> 00:46:56,062
...until we get out onto the tarmac
with the tanker, and the chase begins.

837
00:46:57,939 --> 00:47:00,984
This is a model that
was shot at the studio...

838
00:47:01,151 --> 00:47:04,863
...and then digitally they put in
some of the people that are walking...

839
00:47:05,030 --> 00:47:07,532
...and the jet coming out.

840
00:47:07,699 --> 00:47:10,827
It's a very real shot, and
you would never know...

841
00:47:10,994 --> 00:47:14,247
...that it's a composite
of CGl and model.

842
00:47:15,749 --> 00:47:20,920
This part is outside the airport
in Czechoslovakia, in Prague.

843
00:47:21,087 --> 00:47:26,801
And once we get out into the tarmac,
we had to change the whole location...

844
00:47:26,968 --> 00:47:29,471
...and go to London.

845
00:47:30,180 --> 00:47:34,100
The whole airport scene took
us about six weeks to shoot.

846
00:47:34,267 --> 00:47:39,230
And I think first unit had an extra
week also on the tarmac-shooting nights.

847
00:47:39,397 --> 00:47:43,276
And in total, it was like
eight weeks of nights...

848
00:47:43,443 --> 00:47:47,280
...that we shot every day. And
one of the problems that we had...

849
00:47:47,447 --> 00:47:50,617
...shooting nights was that we
end up doing it in the summer...

850
00:47:50,784 --> 00:47:52,952
...and the nights
were very short.

851
00:47:53,119 --> 00:47:56,122
So in one way that's great...

852
00:47:56,289 --> 00:47:59,626
...because, during daytime,
we could rehearse all the stunts.

853
00:47:59,793 --> 00:48:06,633
And, at nightfall, be ready
to do it and not waste time.

854
00:48:06,800 --> 00:48:09,677
This is also something that's
very challenging for me...

855
00:48:09,844 --> 00:48:14,641
...because, especially with nights,
you wanna have the same lighting...

856
00:48:14,808 --> 00:48:19,145
...setups, and same lighting look,
that first unit and second unit has.

857
00:48:19,312 --> 00:48:23,650
So that, again, the
editing becomes seamless.

858
00:48:24,317 --> 00:48:29,823
This is a stunt that was done by
Ben, which was Daniel's stunt double.

859
00:48:30,990 --> 00:48:32,826
And from this point on...

860
00:48:32,992 --> 00:48:37,038
...we are in London, at
an airport outside London.

861
00:48:37,205 --> 00:48:39,332
And where we did
the whole chase...

862
00:48:39,874 --> 00:48:44,212
...with the tanker, and then
the explosion with the plane.

863
00:48:45,130 --> 00:48:49,217
This was a scene that
was done by real stuntmen.

864
00:48:49,384 --> 00:48:51,970
And we did... It
was all for real.

865
00:48:53,847 --> 00:48:55,974
And, as you can see,
even for our stuntmen...

866
00:48:56,141 --> 00:48:58,017
...it's a very
dangerous scene to do.

867
00:48:58,184 --> 00:49:00,019
The lights that we see
in the background...

868
00:49:00,186 --> 00:49:02,313
...was all put in CGI.

869
00:49:02,480 --> 00:49:05,358
And they were plates
that we shot in Miami...

870
00:49:05,525 --> 00:49:08,361
...and then digitally
they're put in later on.

871
00:49:09,362 --> 00:49:13,992
This is part of a shot that first unit
did with Daniel at the same airport.

872
00:49:14,159 --> 00:49:15,869
And...

873
00:49:17,078 --> 00:49:18,705
...the shot that we just saw...

874
00:49:18,872 --> 00:49:21,958
...Is a composite where
we had to shoot with a crane.

875
00:49:22,125 --> 00:49:25,795
We put the camera high,
and we made one car go by...

876
00:49:25,962 --> 00:49:30,800
...then the other one, and then
we had Daniel jump on his own...

877
00:49:30,967 --> 00:49:32,385
...without any of the cars.

878
00:49:32,552 --> 00:49:35,889
And then you put them
all together, on CGl...

879
00:49:36,055 --> 00:49:39,726
...and it looks like he's
almost being hit by the car.

880
00:49:39,893 --> 00:49:43,229
Hi, this is Gary Powell. I'm the
stunt coordinator on Casino Royale.

881
00:49:43,396 --> 00:49:46,566
You dream up all the sort of
choreography of what you wanna do...

882
00:49:46,733 --> 00:49:48,735
...and, you know, Bond's
on top of the tanker.

883
00:49:48,902 --> 00:49:51,905
So you got to get him inside
the cab for the fight now.

884
00:49:52,071 --> 00:49:54,449
It's like you don't just wanna
have him run down the side...

885
00:49:54,616 --> 00:49:55,825
...open the door and climb in.

886
00:49:55,992 --> 00:49:58,244
Because that's all a bit
boring and it's been done.

887
00:49:58,411 --> 00:50:00,079
You think, "How can
we get him in there...

888
00:50:00,246 --> 00:50:01,486
...in a fast, spectacular way?"

889
00:50:01,581 --> 00:50:03,750
And for that shot
I used Kai Martin.

890
00:50:03,917 --> 00:50:06,252
Physically, he just runs
across the top of the tanker...

891
00:50:06,711 --> 00:50:09,756
...does a barani over the front
and in through the front windscreens.

892
00:50:09,923 --> 00:50:11,674
So it was a tight fit.

893
00:50:11,841 --> 00:50:14,427
Because obviously, you
know, he's sort of 5'10"...

894
00:50:14,594 --> 00:50:18,014
...going through, like, a 2-foot-window
sort of thing in a barani which...

895
00:50:18,181 --> 00:50:20,892
It's a front somersault
with a twist.

896
00:50:21,059 --> 00:50:23,419
So, yeah, you have to sort of
know where you are to do it...

897
00:50:23,561 --> 00:50:27,148
...because obviously, you know,
if he misplaces it, he's in trouble.

898
00:50:30,276 --> 00:50:31,736
It's Chris Corbould again...

899
00:50:31,903 --> 00:50:34,948
...special effects and
miniature-effects supervisor.

900
00:50:35,114 --> 00:50:38,952
We have... Another tricky
one was where the jumbo jet...

901
00:50:39,577 --> 00:50:43,957
He's coming into land and the
convoy tracks across in front...

902
00:50:44,123 --> 00:50:46,668
...and he pulls on the
throttles, pulls it up...

903
00:50:46,834 --> 00:50:51,923
...and as the jumbo jet
flies over the convoy...

904
00:50:52,090 --> 00:50:56,886
...the jet blasts from the engines
blows the police car out of the way.

905
00:50:57,053 --> 00:51:01,849
And we rigged up a very
big rig of cranes and cables...

906
00:51:02,016 --> 00:51:05,770
...and a massive
jerk rig with a cable.

907
00:51:05,937 --> 00:51:09,691
And a high-pressure, jerk-rig
machine, as you can see...

908
00:51:09,857 --> 00:51:13,069
...Jerks the police car out of
the shot, away from the engines.

909
00:51:13,236 --> 00:51:16,823
I think we jerked that car
about 140 foot in the air...

910
00:51:16,990 --> 00:51:18,116
...to get that shot.

911
00:51:18,616 --> 00:51:20,660
It took us a few
times to get it right...

912
00:51:20,827 --> 00:51:23,037
...because the car was on
the move so we had to allow...

913
00:51:23,204 --> 00:51:24,664
...for the arc of the car.

914
00:51:27,166 --> 00:51:28,585
This is Alexander Witt.

915
00:51:28,751 --> 00:51:31,212
This is the end of the
scene where the tanker...

916
00:51:31,379 --> 00:51:33,214
...gets very close
to the plane...

917
00:51:33,381 --> 00:51:37,302
...but it's also a scene
that we did for real.

918
00:51:37,468 --> 00:51:43,975
That is a 747 that's in the
background that was altered a little bit...

919
00:51:44,142 --> 00:51:46,436
...with the CGI so
that it matches...

920
00:51:46,603 --> 00:51:48,896
...the model that we
had at the beginning.

921
00:51:49,063 --> 00:51:52,525
But in reality, it's a 747
standing in the back.

922
00:51:52,692 --> 00:51:54,152
It's Chris Corbould again.

923
00:51:54,319 --> 00:51:56,195
The tanker had to smash
through the vehicles...

924
00:51:56,362 --> 00:51:58,364
...just before it
gets to the plane.

925
00:51:58,531 --> 00:52:02,368
And we built a little
ramp to get some air.

926
00:52:02,535 --> 00:52:04,871
Rolled and it just barged
the cars out of the way.

927
00:52:05,038 --> 00:52:08,666
We built a small ramp so
that as it hit them, it took off.

928
00:52:08,833 --> 00:52:12,462
And got a bit of air
underneath the wheels...

929
00:52:12,629 --> 00:52:15,757
...which gave a much
more spectacular look to it.

930
00:52:17,592 --> 00:52:20,887
And CGI guys put a couple
of guys running away from it...

931
00:52:21,054 --> 00:52:24,515
...which just gave it
that extra touch of reality.

932
00:52:25,308 --> 00:52:26,351
This is Alexander Witt.

933
00:52:26,893 --> 00:52:28,561
At the end of the chase...

934
00:52:28,728 --> 00:52:32,899
...the tanker stops a couple
of feet from the plane...

935
00:52:33,066 --> 00:52:35,068
...which we did with cables...

936
00:52:35,234 --> 00:52:38,071
...So that we know exactly
where the tanker's gonna end.

937
00:52:38,237 --> 00:52:42,033
Otherwise, it's possible
that he might stop too early...

938
00:52:42,200 --> 00:52:44,744
...or too late and if
he stops too late...

939
00:52:44,911 --> 00:52:48,122
...he would probably
hit the plane in the back.

940
00:52:52,752 --> 00:52:55,421
In the original storyboard
for this sequence...

941
00:52:55,588 --> 00:52:58,174
...we had the, as well
as the bendy bus...

942
00:52:58,341 --> 00:52:59,592
...and the baggage trolleys...

943
00:52:59,759 --> 00:53:02,095
...the tanker actually went
through the belly of the plane.

944
00:53:02,261 --> 00:53:04,639
I thought maybe it was a
727 or something like that.

945
00:53:04,806 --> 00:53:09,435
The Art Department actually
sourced a time-expired 727...

946
00:53:09,602 --> 00:53:12,438
...and we cut out the belly of it
and made a breakaway belly...

947
00:53:12,605 --> 00:53:15,066
...which we shot at Lasham.

948
00:53:15,233 --> 00:53:18,319
And the tanker travels
straight away through the belly...

949
00:53:18,486 --> 00:53:19,966
...and you see the
belly collapse out.

950
00:53:20,113 --> 00:53:24,158
But I think Martin felt that
it was one bridge too far...

951
00:53:24,325 --> 00:53:27,662
...after going through
the other two articles.

952
00:53:27,829 --> 00:53:30,081
We worried about how
we were gonna do...

953
00:53:30,248 --> 00:53:33,084
...the guy exploding in a minute
with the bomb attached to his belt.

954
00:53:33,251 --> 00:53:37,171
But luckily enough they spared
us that and they did it off-screen.

955
00:53:42,135 --> 00:53:46,973
The puts expired. I'm sorry, I'm
not sure yet how much you've lost.

956
00:53:47,140 --> 00:53:52,562
One hundred and one million, two
hundred and six thousand dollars.

957
00:53:59,068 --> 00:54:01,279
Someone talked.

958
00:54:21,507 --> 00:54:23,509
My name is Anne Bennett...

959
00:54:23,676 --> 00:54:25,803
...and I'm senior vice
president of marketing...

960
00:54:25,970 --> 00:54:28,806
...for Eon Productions Ltd.

961
00:54:34,645 --> 00:54:37,565
The toughest thing about
marketing Casino Royale...

962
00:54:37,732 --> 00:54:39,984
...was to make
everybody appreciate...

963
00:54:40,151 --> 00:54:42,945
...that this was going to
be a very different film...

964
00:54:43,112 --> 00:54:45,531
...from those which had
been in the franchise...

965
00:54:45,698 --> 00:54:48,075
...for the last
40-something years.

966
00:54:48,242 --> 00:54:52,330
And that Daniel Craig's performance
was going to be very different...

967
00:54:52,497 --> 00:54:54,624
...in a very
different type of film.

968
00:54:56,042 --> 00:54:57,084
No.

969
00:54:57,251 --> 00:55:00,755
-Not your name, what you were after?
-No.

970
00:55:00,922 --> 00:55:02,465
Dimitrios worked as a middleman.

971
00:55:02,882 --> 00:55:06,219
Couple of years before Casino
Royale started production...

972
00:55:06,385 --> 00:55:09,847
...the distribution studio
changed internationally...

973
00:55:10,014 --> 00:55:13,935
...from MGM and 20th
Century Fox to Sony...

974
00:55:14,101 --> 00:55:17,146
...who handled it both
domestically and internationally.

975
00:55:17,313 --> 00:55:20,358
And that was an
enormous learning curve...

976
00:55:20,525 --> 00:55:21,567
...for us and for them...

977
00:55:21,734 --> 00:55:24,403
...because they've never
handled a James Bond film before.

978
00:55:24,570 --> 00:55:26,072
...by playing poker.

979
00:55:36,082 --> 00:55:39,669
We always knew that
to launch this film...

980
00:55:39,836 --> 00:55:42,255
...with the media in the
States and around the world...

981
00:55:42,421 --> 00:55:45,049
...we had to have another
opportunity during production.

982
00:55:45,216 --> 00:55:47,593
And we always
choose a location...

983
00:55:47,760 --> 00:55:49,846
...the most glamorous of
which could have been...

984
00:55:50,012 --> 00:55:51,681
...the Bahamas or Venice.

985
00:55:51,848 --> 00:55:54,308
The Bahamas was
first so we chose that.

986
00:55:54,475 --> 00:55:57,395
And we brought in, with
Sony's assistance of course...

987
00:55:57,478 --> 00:56:00,106
...oh, a huge amount of
press from around the world.

988
00:56:00,273 --> 00:56:02,483
And we had a very
good three-day event...

989
00:56:02,650 --> 00:56:05,570
...with the media visiting
the construction site...

990
00:56:05,736 --> 00:56:08,823
...which appears at the beginning
of the film, the embassy site...

991
00:56:08,990 --> 00:56:10,283
...and two or three others.

992
00:56:10,449 --> 00:56:13,661
The One&Only to see where the
poker game was going to be shot.

993
00:56:13,828 --> 00:56:17,373
And we did at the end
of a heavy day's filming...

994
00:56:17,540 --> 00:56:19,667
...for all of the actors...

995
00:56:19,834 --> 00:56:22,795
...the producers, the
director and our main crew...

996
00:56:22,962 --> 00:56:26,299
...a big, major press event
which helped us enormously...

997
00:56:26,465 --> 00:56:29,135
...because by that time
there were a few rumours...

998
00:56:29,302 --> 00:56:32,555
...that were coming
out of the British press...

999
00:56:32,722 --> 00:56:38,144
...that Daniel Craig couldn't drive
a shift gear in an Aston Martin...

1000
00:56:38,311 --> 00:56:42,607
...and those sort of
nasty attacks on him.

1001
00:56:42,773 --> 00:56:44,650
And it totally turned round.

1002
00:56:45,067 --> 00:56:48,404
The newspapers from England
that attended the junket...

1003
00:56:48,571 --> 00:56:50,323
...came back and did
double-page spreads.

1004
00:56:50,489 --> 00:56:54,785
"Yes, of course he could drive,"
you know, whatever the rumour was.

1005
00:56:54,952 --> 00:56:56,621
...with his clients' funds?

1006
00:56:57,038 --> 00:56:59,916
They're not gonna be too
happy when they find out it's gone.

1007
00:57:00,082 --> 00:57:01,500
We can't let him win this game.

1008
00:57:01,667 --> 00:57:04,003
If he loses, he'll
have nowhere to run.

1009
00:57:04,170 --> 00:57:07,006
We'll give him sanctuary in
return for everything he knows.

1010
00:57:07,173 --> 00:57:08,966
I'm putting you in the game...

1011
00:57:09,133 --> 00:57:12,428
It was an amazing experience,
having the original book to work with...

1012
00:57:12,595 --> 00:57:15,139
...and having a new James Bond.

1013
00:57:15,306 --> 00:57:21,145
When you watch Daniel Craig
acting, he is so focused and so strong...

1014
00:57:21,312 --> 00:57:24,732
...In his aims as to what
he wants to achieve.

1015
00:57:24,899 --> 00:57:28,486
And by the time we came to shoot
between October and January...

1016
00:57:28,653 --> 00:57:31,697
...he had developed
into a James Bond...

1017
00:57:31,864 --> 00:57:34,825
...as he wanted to portray it.

1018
00:57:34,992 --> 00:57:36,392
Don't worry about
keeping in touch.

1019
00:57:37,536 --> 00:57:38,871
We'll know where you are.

1020
00:57:39,038 --> 00:57:40,456
You can stop pretending.

1021
00:57:41,290 --> 00:57:43,376
You knew I wouldn't
let this drop, didn't you?

1022
00:57:44,502 --> 00:57:46,837
Well, I knew you were you.

1023
00:58:05,272 --> 00:58:06,315
Thank you.

1024
00:58:06,482 --> 00:58:09,568
My name's Stuart Baird. I'm
the editor of Casino Royale.

1025
00:58:09,735 --> 00:58:12,947
Just from the point of view...
I've been an editor for 35 years...

1026
00:58:13,114 --> 00:58:17,159
...and people think that
action is the most difficult to cut.

1027
00:58:17,326 --> 00:58:21,914
And there is a... You know, everyone
works very hard and has a skill in it...

1028
00:58:22,081 --> 00:58:26,335
...but editors themselves
recognise good cutting...

1029
00:58:26,502 --> 00:58:28,587
...from dialogue sequences.

1030
00:58:28,754 --> 00:58:33,217
And one often works much harder
on the dialogue sequences than...

1031
00:58:33,384 --> 00:58:34,944
...how should I say...?
Not much harder.

1032
00:58:35,052 --> 00:58:38,931
You work just as hard on everything
to bring the best out of every scene.

1033
00:58:39,098 --> 00:58:43,310
But the delicate cutting that
you get in a dialogue scene...

1034
00:58:43,477 --> 00:58:47,773
...Is completely unrecognised
because it isn't obvious, it's subtle.

1035
00:58:47,940 --> 00:58:49,775
One of the scenes I
worked very hard on...

1036
00:58:49,942 --> 00:58:53,696
...at least, probably
took me as long to cut...

1037
00:58:53,863 --> 00:58:57,158
...as the sequence in the
airport was the scene in the train.

1038
00:58:58,117 --> 00:59:00,745
Where it's the cute meet,
where he meets Vesper.

1039
00:59:00,911 --> 00:59:02,538
And that sequence is...

1040
00:59:02,705 --> 00:59:04,290
They're both sitting
down basically...

1041
00:59:04,457 --> 00:59:07,126
...but in order to choose
the little moments...

1042
00:59:07,293 --> 00:59:10,921
...the little tempo,
the little nuances...

1043
00:59:11,088 --> 00:59:13,966
...because not always you
use the reactions or whatever...

1044
00:59:14,133 --> 00:59:17,887
...from the same part of the scene
that they actually were to look...

1045
00:59:18,054 --> 00:59:21,015
You know, when
they were delivering it.

1046
00:59:21,182 --> 00:59:23,476
You're trying to grab
the absolute maximum.

1047
00:59:23,642 --> 00:59:24,643
That's what editing is...

1048
00:59:24,810 --> 00:59:27,772
...is really to bring out the
very best from the material...

1049
00:59:27,938 --> 00:59:31,025
...from wherever you can
get it to make the scene live.

1050
00:59:31,192 --> 00:59:34,320
And sometimes we
often lose dialogue...

1051
00:59:34,487 --> 00:59:36,405
...we may even re
juxtaposition dialogue.

1052
00:59:36,572 --> 00:59:38,199
We didn't in that one.

1053
00:59:38,365 --> 00:59:41,827
But the actual pacing of
that is just as important...

1054
00:59:41,994 --> 00:59:47,333
...maybe more important than
the... In the action sequences.

1055
00:59:47,500 --> 00:59:51,587
Because you don't... I mean,
the worst crime is to bore people.

1056
00:59:51,754 --> 00:59:55,466
And if things outstay
their welcome...

1057
00:59:55,633 --> 00:59:57,134
...there's an
audience quite right.

1058
00:59:57,301 --> 00:59:59,053
You think, "What
am I sitting here for?

1059
00:59:59,220 --> 01:00:00,763
Let's get on with it."

1060
01:00:00,930 --> 01:00:04,642
So I've worked very
hard on that sequence.

1061
01:00:04,809 --> 01:00:07,770
And then in terms
of the actual...

1062
01:00:07,937 --> 01:00:11,524
I suppose the hardest work
I put into the whole editing...

1063
01:00:11,690 --> 01:00:13,359
...of this picture...

1064
01:00:13,526 --> 01:00:15,694
...the most difficult
was the card games...

1065
01:00:15,861 --> 01:00:17,446
...the three card games.

1066
01:00:17,863 --> 01:00:19,990
Now, I'd have normally
gone with only child...

1067
01:00:20,157 --> 01:00:23,452
...but, you see, by the
way you ignored the quip...

1068
01:00:23,619 --> 01:00:25,746
My name is Paul Haggis.

1069
01:00:25,913 --> 01:00:31,293
My biggest challenge in the love
story was showing immediately...

1070
01:00:31,460 --> 01:00:36,882
...why Bond would need Vesper
and why Vesper would need Bond.

1071
01:00:37,591 --> 01:00:41,178
And even in action movies
you've gotta do this brief...

1072
01:00:41,345 --> 01:00:43,848
Character work has
to be done quickly.

1073
01:00:44,014 --> 01:00:47,059
So I decided I had to
do it right on the train.

1074
01:00:47,226 --> 01:00:48,769
So it was really...

1075
01:00:48,936 --> 01:00:53,399
I said, "Okay, what does
Bond want? Really want?"

1076
01:00:53,566 --> 01:00:55,734
He wants to be seen. He
wants to be seen through.

1077
01:00:55,901 --> 01:00:59,905
Here's a man who is a spy, who
is always keeping his walls up.

1078
01:01:00,072 --> 01:01:02,074
And what he would crave
is to be seen through...

1079
01:01:02,241 --> 01:01:04,410
...to have somebody look
right through those walls.

1080
01:01:04,577 --> 01:01:08,581
I said, "That's what she's gonna
do. Sit down and tell him who he is."

1081
01:01:08,747 --> 01:01:10,124
And so that was great fun.

1082
01:01:10,291 --> 01:01:15,296
And then... But first of all, I
know to prompt that I had Bond...

1083
01:01:15,462 --> 01:01:17,423
...because Bond is really
good at reading people.

1084
01:01:17,590 --> 01:01:20,801
He talks about how he's
a good poker player...

1085
01:01:20,968 --> 01:01:23,328
...and how he's good at reading
people and she taunts him...

1086
01:01:23,470 --> 01:01:25,556
...and so he reads her exactly.

1087
01:01:25,723 --> 01:01:28,726
And so she's thrown because
here's a man who sees her.

1088
01:01:28,893 --> 01:01:33,230
Again, a person who is acting as a
spy at that moment even though she's...

1089
01:01:33,397 --> 01:01:36,233
And we don't know that she
is. She's being duplicitous...

1090
01:01:36,400 --> 01:01:37,610
...and she's seen through.

1091
01:01:37,776 --> 01:01:40,404
And that's what we all want to
be. We all wanna be seen through.

1092
01:01:40,571 --> 01:01:42,615
We wanna be seen for
who we really truly are.

1093
01:01:42,781 --> 01:01:45,451
But she can't admit that
so she turns it back on him.

1094
01:01:45,618 --> 01:01:47,286
And throws it back at him...

1095
01:01:47,453 --> 01:01:53,667
...and he sympathises with the
lamb at that point for being skewered.

1096
01:01:53,834 --> 01:01:56,503
You know, so that was great fun.

1097
01:01:56,670 --> 01:02:00,007
And I said, "Okay, as soon as I
got that I know their relationship."

1098
01:02:00,174 --> 01:02:01,967
And it was really...

1099
01:02:03,844 --> 01:02:08,849
I was really trying to write a
modern version of His Girl Friday.

1100
01:02:09,016 --> 01:02:12,061
In those sequences it was
Rosalind Russell and Cary Grant...

1101
01:02:12,228 --> 01:02:15,231
...that I was hoping they
would channel in a drama.

1102
01:02:15,689 --> 01:02:20,361
And I love the
banter of those films.

1103
01:02:20,527 --> 01:02:25,324
And the way that the
characters didn't miss a beat.

1104
01:02:25,491 --> 01:02:28,869
But they just saw each
other so well, you know?

1105
01:02:29,036 --> 01:02:31,247
And they played off
each other so well.

1106
01:02:31,413 --> 01:02:34,041
And when you have somebody
like that who, A, sees through you...

1107
01:02:34,208 --> 01:02:36,168
...and, B, you can play with...

1108
01:02:36,335 --> 01:02:38,796
...mean, how enticing is that?

1109
01:02:38,963 --> 01:02:40,683
So that's what I wanted
for the two of them.

1110
01:02:42,299 --> 01:02:44,051
Apparently we're
very much in love.

1111
01:02:44,760 --> 01:02:47,763
Do you usually leave it to
porters to tell you this sort of thing?

1112
01:02:47,930 --> 01:02:50,683
Only when the romance
has been necessarily brief.

1113
01:02:53,727 --> 01:02:59,525
Before I came on, Purvis and Wade
and Michael and Martin and Barbara...

1114
01:02:59,692 --> 01:03:04,321
...had all come up
with Vesper's journey.

1115
01:03:04,488 --> 01:03:10,494
Exactly how she'd
fall into the hands...

1116
01:03:10,661 --> 01:03:13,247
...of the bad guys.

1117
01:03:13,414 --> 01:03:16,041
How she'd fallen in love...

1118
01:03:16,208 --> 01:03:19,253
...and how her lover
had been kidnapped...

1119
01:03:19,420 --> 01:03:23,215
...and how she was
forced to betray her country.

1120
01:03:23,382 --> 01:03:25,551
And then in the end...

1121
01:03:26,218 --> 01:03:28,971
You know, towards the end,
how she falls in love with Bond...

1122
01:03:29,138 --> 01:03:31,807
...and is terribly torn by that
and tries to do two things:

1123
01:03:31,974 --> 01:03:35,894
Tries to save, you know, her
lover and tries to save Bond...

1124
01:03:36,061 --> 01:03:38,314
...by sacrificing herself.

1125
01:03:39,231 --> 01:03:41,900
And of course, M says
at the end of the film...

1126
01:03:42,067 --> 01:03:43,787
...that she was probably
a complete waste...

1127
01:03:43,902 --> 01:03:47,573
...because she's quite sure
that this lover was a honey trap...

1128
01:03:47,740 --> 01:03:49,700
...that he was in on
it from the beginning.

1129
01:03:49,867 --> 01:03:52,745
So love destroyed her.

1130
01:03:52,911 --> 01:03:58,917
And that was a great
tragic character to play with.

1131
01:04:00,002 --> 01:04:02,755
Thank you. Enjoy your stay.

1132
01:04:02,921 --> 01:04:04,423
I will. Thank you.

1133
01:04:07,426 --> 01:04:08,594
Very funny.

1134
01:04:08,761 --> 01:04:10,763
Hello, I'm Debbie McWilliams.

1135
01:04:10,929 --> 01:04:12,890
I did the casting
on Casino Royale.

1136
01:04:13,223 --> 01:04:15,476
Which means he's
decided to play me anyway.

1137
01:04:17,144 --> 01:04:21,357
The role of James Bond has
always had the same template.

1138
01:04:21,523 --> 01:04:25,235
It has to be an actor
who is dashing...

1139
01:04:25,402 --> 01:04:28,822
...handsome, incredibly fit...

1140
01:04:28,989 --> 01:04:34,995
...but who has that sort of hard
edge while also being charming.

1141
01:04:35,162 --> 01:04:39,833
And that's always
really been what...

1142
01:04:40,000 --> 01:04:42,628
Those are the
ingredients of James Bond.

1143
01:04:42,795 --> 01:04:46,507
He has to be...
He is a hired killer.

1144
01:04:46,673 --> 01:04:50,177
And despite the fact that he
is also extremely charming...

1145
01:04:50,344 --> 01:04:52,429
...we always have to know
in the back of our minds...

1146
01:04:52,596 --> 01:04:54,848
...that he's capable
of pulling that trigger.

1147
01:04:55,015 --> 01:05:00,646
And not every actor can
do that, as we well know.

1148
01:05:04,858 --> 01:05:07,152
One day, Barbara...
Well, not one day.

1149
01:05:07,319 --> 01:05:10,406
Almost day one when I
started working on the film...

1150
01:05:10,572 --> 01:05:12,658
...we knew that we had
to find a James Bond.

1151
01:05:12,825 --> 01:05:19,248
And this was about six months
run-up to actual preproduction.

1152
01:05:19,415 --> 01:05:24,503
So that was it. That was my only
task was to find a new James Bond.

1153
01:05:24,670 --> 01:05:28,257
And Barbara called me
into her office and said:

1154
01:05:28,382 --> 01:05:30,259
"What do you think
of Daniel Craig?"

1155
01:05:30,426 --> 01:05:33,220
And I said, "I think
he's fantastic. Why?"

1156
01:05:33,387 --> 01:05:35,806
And she said, "Well, for
James Bond, of course."

1157
01:05:35,973 --> 01:05:41,770
And I said, "Really? I
haven't even thought of it."

1158
01:05:41,937 --> 01:05:45,691
But once she said the name, I
just thought, "Well, of course."

1159
01:05:45,858 --> 01:05:50,362
It just makes such good
sense because he is...

1160
01:05:50,529 --> 01:05:53,198
...for me, the actor
of his generation.

1161
01:05:53,365 --> 01:05:57,369
He's always been so interesting,
he's never been typecast.

1162
01:05:57,536 --> 01:06:00,789
He's chosen the things
he does really, really well.

1163
01:06:00,956 --> 01:06:04,042
But my doubt was whether he
would want to do something...

1164
01:06:04,209 --> 01:06:06,545
...as commercial as
a James Bond film.

1165
01:06:06,712 --> 01:06:10,883
Because he had seemed to
have deliberately avoided...

1166
01:06:11,049 --> 01:06:12,342
...that sort of film.

1167
01:06:13,719 --> 01:06:19,391
But I rang his agent who
said, "Well, there's a thought.

1168
01:06:19,558 --> 01:06:21,059
I'll ask him."

1169
01:06:21,226 --> 01:06:24,062
She said, "Do you have a script?"
And I said, "No, of course we don't."

1170
01:06:24,229 --> 01:06:27,816
"We've got a book. I can
get one over to you if you like."

1171
01:06:27,983 --> 01:06:30,903
And she said, "Oh, well, I'll
give him a ring and I'll call back."

1172
01:06:31,069 --> 01:06:34,823
Well, by lunchtime the next day,
he'd gone out and bought the book...

1173
01:06:34,990 --> 01:06:37,576
...read it and was in our
office having a meeting.

1174
01:06:37,743 --> 01:06:42,789
So I think that was where we
knew that he was interested.

1175
01:06:42,956 --> 01:06:46,084
But then we
continued the search.

1176
01:06:46,251 --> 01:06:49,755
We literally scoured the
world. I went everywhere.

1177
01:06:49,922 --> 01:06:53,425
I met some very, very
interesting, good talent...

1178
01:06:53,592 --> 01:06:56,970
...who, indeed, I'm sure will
go on to do very good things.

1179
01:06:57,137 --> 01:06:59,097
But they just weren't
the right person.

1180
01:06:59,264 --> 01:07:02,935
And to be honest with you, there
was never really anybody else...

1181
01:07:03,101 --> 01:07:06,271
...certainly who the
producers wanted.

1182
01:07:06,438 --> 01:07:09,399
They were convinced
by him from the beginning.

1183
01:07:11,610 --> 01:07:17,533
So I can only describe it as
once he had put on the mantle...

1184
01:07:17,950 --> 01:07:21,203
...he became the man.

1185
01:07:22,788 --> 01:07:24,748
One day he was
just Daniel Craig...

1186
01:07:24,915 --> 01:07:28,418
...the next day he was Daniel
Craig playing James Bond.

1187
01:07:28,585 --> 01:07:31,630
And he knew that that
was a huge responsibility.

1188
01:07:31,797 --> 01:07:35,050
And for himself...

1189
01:07:35,217 --> 01:07:38,804
...for his audience, for
the film, for everybody...

1190
01:07:38,971 --> 01:07:41,473
...he knew that he had to
work really hard to get it right.

1191
01:07:41,640 --> 01:07:44,101
And it was hard work.

1192
01:07:44,268 --> 01:07:48,522
And there's no doubt about it.
You don't just be that person.

1193
01:07:48,689 --> 01:07:51,441
It's a job, it's a
very hard job...

1194
01:07:51,608 --> 01:07:55,696
...and he put everything
that he had into it.

1195
01:07:55,862 --> 01:07:57,182
Okay, hello, I'm
Lindy Hemming...

1196
01:07:57,322 --> 01:08:00,117
...and we're just gonna look
at the sequence where Bond...

1197
01:08:00,284 --> 01:08:03,078
...and Vesper arrive
in Montenegro...

1198
01:08:03,245 --> 01:08:06,164
...where the grand casino is.

1199
01:08:06,331 --> 01:08:11,086
And Bond hasn't really had
an opportunity to wear suits...

1200
01:08:11,253 --> 01:08:13,630
...proper suits, very
much, tailored suits.

1201
01:08:13,797 --> 01:08:16,216
So it's a very good
moment in the story...

1202
01:08:16,383 --> 01:08:21,096
...where he will appear
as Bond for the first time.

1203
01:08:21,263 --> 01:08:26,310
And there's an interesting device
where he's bought her a dress...

1204
01:08:26,476 --> 01:08:29,146
...and she's bought... We
don't find out straight away.

1205
01:08:29,313 --> 01:08:34,151
But she's also bought him a
tuxedo immaculately tailor-made.

1206
01:08:42,200 --> 01:08:47,039
Well, the thing about Bond's tuxedo
and all of Bond's tailoring is that it's...

1207
01:08:47,205 --> 01:08:51,001
You've got to keep it classic and
you've got to keep it expensive.

1208
01:08:51,168 --> 01:08:53,295
But also he's
got to be discrete.

1209
01:08:53,462 --> 01:08:56,173
Because he's the kind of man
who has to move in, you know...

1210
01:08:56,340 --> 01:08:57,758
...all kinds of circles.

1211
01:08:57,924 --> 01:08:59,009
He should look wonderful...

1212
01:08:59,176 --> 01:09:01,511
...but he shouldn't stand
out as odd in any way.

1213
01:09:01,678 --> 01:09:04,973
So you keep away from
the extremes of fashion...

1214
01:09:05,140 --> 01:09:08,977
...but at the same time you
want him to look really beautiful.

1215
01:09:09,144 --> 01:09:11,271
His tuxedo in this instance...

1216
01:09:11,438 --> 01:09:14,858
...has got to be able to withstand
a tremendous amount of action...

1217
01:09:15,025 --> 01:09:18,987
...and really not fall apart
or decompose during it.

1218
01:09:19,154 --> 01:09:24,159
So I have to say that I put down
the way his clothes behave...

1219
01:09:24,326 --> 01:09:27,079
...and how durable
and enduring they are...

1220
01:09:27,245 --> 01:09:30,582
...In spite of being made of
the lightest-weight fabrics...

1221
01:09:30,749 --> 01:09:32,751
...to the tailoring
that goes into them.

1222
01:09:32,918 --> 01:09:35,087
And you must be Mr
Bliss' replacement.

1223
01:09:35,253 --> 01:09:37,381
Welcome, Mr Beech.

1224
01:09:38,548 --> 01:09:41,385
Or is that Bond?
I'm a little confused.

1225
01:09:41,551 --> 01:09:44,012
Well, we wouldn't
want that, would we?

1226
01:09:44,596 --> 01:09:46,390
I'm Anthony Waye. I
was executive producer...

1227
01:09:46,556 --> 01:09:48,308
...on Casino Royale.

1228
01:09:48,475 --> 01:09:53,563
I think we first met with producers
probably April-ish of 2004,

1229
01:09:53,730 --> 01:09:56,942
In those times, we were
planning to shoot January 2005.

1230
01:09:57,109 --> 01:10:00,779
And then slowly we discussed
over the weeks sort of first draft.

1231
01:10:00,946 --> 01:10:02,280
The script was much different...

1232
01:10:02,447 --> 01:10:05,242
...to what we eventually
shot, as always.

1233
01:10:05,409 --> 01:10:09,162
We were taken on, Callum McDougall,
the other executive producer...

1234
01:10:09,329 --> 01:10:10,956
...and myself and Pete Lamont.

1235
01:10:11,123 --> 01:10:13,291
We sort of joined
for two-week stints.

1236
01:10:13,458 --> 01:10:15,460
And in two weeks we
would do a budget...

1237
01:10:15,627 --> 01:10:19,089
...and get that approved and
go off and look at locations.

1238
01:10:19,256 --> 01:10:20,576
And we did quite
a lot of that...

1239
01:10:20,716 --> 01:10:25,637
...between, I think it was August
time 2004 and December 2004.

1240
01:10:25,804 --> 01:10:28,348
Our first recce we went
to Czech Republic...

1241
01:10:28,515 --> 01:10:30,809
...to Prague and went
up to Karlovy Vary first...

1242
01:10:30,976 --> 01:10:33,145
...which is about an hour
and a half outside of Prague.

1243
01:10:33,311 --> 01:10:34,396
And as it so happens...

1244
01:10:34,563 --> 01:10:36,483
...with all the touring
we did round the world...

1245
01:10:36,648 --> 01:10:41,319
...that's the actual location we
used for Montenegro in the film.

1246
01:10:42,946 --> 01:10:46,700
We're looking at the casino
here and a tremendous...

1247
01:10:46,867 --> 01:10:49,494
Well, we made a big
decision about the casino table.

1248
01:10:49,661 --> 01:10:51,663
In conjunction with
the company Brioni...

1249
01:10:51,830 --> 01:10:57,419
...who tailors all of James Bond's suits
and have done for the past four films...

1250
01:10:57,586 --> 01:11:02,591
...we decided to do a complete
costuming of everybody...

1251
01:11:02,758 --> 01:11:06,386
...at the high-gambling table.

1252
01:11:06,553 --> 01:11:10,849
And they tailor-made for me,
to my designs, every garment...

1253
01:11:11,016 --> 01:11:13,935
...that everyone wears,
except for Madame Wu.

1254
01:11:14,102 --> 01:11:17,814
And so Brioni tailored all
of the clothes individually...

1255
01:11:17,981 --> 01:11:20,358
...for each person
around the table...

1256
01:11:20,525 --> 01:11:24,237
...Including the women's
clothes for Veruschka...

1257
01:11:24,404 --> 01:11:28,867
...which was a real pleasure to
do because she looks fantastic.

1258
01:11:29,034 --> 01:11:30,994
And she's about 6 foot tall.

1259
01:11:31,161 --> 01:11:36,082
So I would say each person
here has a different fabric...

1260
01:11:36,249 --> 01:11:40,170
...and each person has a costume
which is appropriate to who they are...

1261
01:11:40,337 --> 01:11:43,256
...and where they
come from in a way.

1262
01:11:43,507 --> 01:11:46,301
The Russian has a beautiful
series of silk jackets...

1263
01:11:46,468 --> 01:11:48,887
...one of them which
has a mink collar.

1264
01:11:49,054 --> 01:11:53,642
Ade who plays
the African dictator.

1265
01:11:53,809 --> 01:11:55,529
And of course, we've
designed his clothes...

1266
01:11:55,685 --> 01:11:59,731
...in that particular
safari-jacket-meets-eveningwear style.

1267
01:11:59,898 --> 01:12:03,902
Which a lot of those
people seem to go for...

1268
01:12:04,069 --> 01:12:08,365
...and which Brioni made
beautifully in a series of silks.

1269
01:12:08,532 --> 01:12:12,911
We even designed the waistcoats
and had them made for the croupier.

1270
01:12:13,078 --> 01:12:16,832
And strangely enough, in a
very expensive dress shop...

1271
01:12:16,998 --> 01:12:19,209
...dress-fabric
shop called Joel's...

1272
01:12:19,376 --> 01:12:23,755
...we found this fabric which
had dice and cards and everything.

1273
01:12:23,922 --> 01:12:26,466
So we decided to, even
though it was meant for dresses...

1274
01:12:26,633 --> 01:12:28,844
...to make the
waistcoats out of that.

1275
01:12:29,010 --> 01:12:33,014
The dress that he's bought for her is
quite an important part of the story...

1276
01:12:33,181 --> 01:12:36,601
...because what's
happened IS he wants her...

1277
01:12:36,768 --> 01:12:41,022
...to appear in the casino
and distract the other players.

1278
01:12:41,189 --> 01:12:45,151
So far from her usual,
very simple elegance...

1279
01:12:45,318 --> 01:12:47,946
...sort of almost French
way of dressing...

1280
01:12:48,113 --> 01:12:51,575
...we now are going to try and
make her look a little bit vampy.

1281
01:12:51,741 --> 01:12:55,829
And I chose a sort of
auberginy, purply colour...

1282
01:12:55,996 --> 01:12:58,331
...because it seemed
to be near enough...

1283
01:12:58,498 --> 01:13:04,296
...to her normal code of
dress but a sexy colour.

1284
01:13:04,462 --> 01:13:06,542
And a colour that no one
else would be able to use...

1285
01:13:06,631 --> 01:13:08,425
...in that scene obviously.

1286
01:13:08,592 --> 01:13:11,052
And for the character Vesper...

1287
01:13:11,219 --> 01:13:14,556
...it's a moment where
she enters the casino...

1288
01:13:14,723 --> 01:13:19,060
...and Bond, who was hoping
to distract the other players...

1289
01:13:19,227 --> 01:13:24,357
...finds himself distracted by
her and her sort of sexiness.

1290
01:13:24,524 --> 01:13:28,153
So it's a kind of
double take for him.

1291
01:13:28,320 --> 01:13:30,488
He is distracted
from his own game...

1292
01:13:30,655 --> 01:13:33,825
...where he wished the other people
have been distracted from theirs.

1293
01:13:33,992 --> 01:13:36,870
So this really was
an important dress.

1294
01:13:37,037 --> 01:13:38,288
Bet. Two hundred thousand.

1295
01:13:40,749 --> 01:13:43,585
Hello, Debbie McWilliams again.

1296
01:13:43,752 --> 01:13:46,504
What if I told you that the
week before we were due...

1297
01:13:46,671 --> 01:13:50,216
...to shoot that scene, we
still didn't have the dealer?

1298
01:13:50,383 --> 01:13:53,261
Again, it was that thing,
do you have the real thing...

1299
01:13:53,428 --> 01:13:55,513
...or do you have an
actor who can do it?

1300
01:13:55,680 --> 01:13:58,892
And I had met a lovely
actor, again, in Paris...

1301
01:13:59,476 --> 01:14:03,188
...who as his audition,
did a card trick for me...

1302
01:14:03,355 --> 01:14:06,691
...where, you know, you put all
the cards out on the table and go:

1303
01:14:06,858 --> 01:14:08,978
And I would have thought...
I was impressed by that...

1304
01:14:09,069 --> 01:14:11,696
...me knowing nothing about
poker dealing whatsoever.

1305
01:14:11,863 --> 01:14:13,531
And I went, "He'd be fantastic."

1306
01:14:13,698 --> 01:14:15,867
Martin doesn't know a
great deal about it either.

1307
01:14:16,034 --> 01:14:17,953
So between us we thought
we were very clever...

1308
01:14:18,119 --> 01:14:23,375
...casting this actor who came
out for the week's rehearsal...

1309
01:14:23,541 --> 01:14:26,836
...and with our poker expert...

1310
01:14:27,003 --> 01:14:31,174
...just decided that he
just was not good enough.

1311
01:14:31,341 --> 01:14:34,302
He's a lovely actor and
we had him in the film...

1312
01:14:34,469 --> 01:14:37,639
...but he just hadn't got
the manual dexterity...

1313
01:14:37,806 --> 01:14:40,016
...to get those cards
round the table fast enough.

1314
01:14:40,183 --> 01:14:43,812
So I went on the Internet...

1315
01:14:43,979 --> 01:14:47,649
...I rang every
casino in Europe.

1316
01:14:47,816 --> 01:14:52,445
And not very many of them have
dealers who do Texas Hold'em.

1317
01:14:52,612 --> 01:14:55,532
They do have various
other sorts of poker...

1318
01:14:55,699 --> 01:14:58,660
...but Texas Hold'em
was our game.

1319
01:14:58,827 --> 01:15:02,747
And I tracked down about six.

1320
01:15:02,914 --> 01:15:07,085
And on the Saturday before we were
due to start shooting on the Monday...

1321
01:15:07,252 --> 01:15:10,880
...we auditioned all these
people who'd driven from Vienna...

1322
01:15:11,047 --> 01:15:13,550
...had flown in
from Bratislava...

1323
01:15:13,717 --> 01:15:16,594
...who had arrived
from who knows where.

1324
01:15:16,761 --> 01:15:22,183
And Daniel Andreas
had the manual dexterity.

1325
01:15:22,350 --> 01:15:25,937
He was good-looking,
he just felt very natural.

1326
01:15:26,104 --> 01:15:27,814
And that's exactly
what we needed.

1327
01:15:27,981 --> 01:15:30,692
Someone who looked as
if they did it all the time...

1328
01:15:30,859 --> 01:15:35,280
...who was not remotely
flustered by doing this.

1329
01:15:35,447 --> 01:15:38,616
And doing it over and
over and over again.

1330
01:15:38,825 --> 01:15:41,453
And so he was the perfect man.

1331
01:15:41,619 --> 01:15:45,290
But it was a very late
call, I'm afraid to say.

1332
01:15:45,457 --> 01:15:47,751
So it was a bit of a:

1333
01:15:47,917 --> 01:15:51,296
But again, it worked very
well. And I'm glad we did it.

1334
01:15:51,463 --> 01:15:55,884
And Tom, our poker
man, kept saying to us:

1335
01:15:56,051 --> 01:16:00,180
"There's almost no film where there's
a poker game where they get it right.

1336
01:16:00,346 --> 01:16:02,098
There's always
something wrong with it."

1337
01:16:02,265 --> 01:16:03,600
So it was our challenge...

1338
01:16:03,683 --> 01:16:07,896
...to make it look absolutely as
authentic as we possibly could.

1339
01:16:08,063 --> 01:16:10,482
And so that's why we
went to such lengths over it.

1340
01:16:10,648 --> 01:16:14,986
And I hope that the
poker-playing world out there...

1341
01:16:15,153 --> 01:16:18,490
...will agree that we did
a pretty good job on it.

1342
01:16:18,656 --> 01:16:23,161
It's time for a short break. We
will resume play in one hour.

1343
01:16:26,664 --> 01:16:29,667
This is Callum McDougall,
executive producer, again.

1344
01:16:29,834 --> 01:16:32,754
I mean, normally on a film, the
first thing you have is a script.

1345
01:16:32,921 --> 01:16:35,256
Casino Royale
was slightly different.

1346
01:16:35,423 --> 01:16:36,883
I was engaged with
Anthony Waye...

1347
01:16:37,050 --> 01:16:41,429
...who's the other executive
producer very early on.

1348
01:16:41,596 --> 01:16:45,058
Neal Purvis and Robert Wade
were still writing the script.

1349
01:16:45,225 --> 01:16:48,436
So we actually went
back to the novel.

1350
01:16:48,603 --> 01:16:51,189
And with Peter Lamont, who
was our production designer...

1351
01:16:51,356 --> 01:16:53,900
...and Andrew Noakes, who
was our associate producer...

1352
01:16:54,067 --> 01:16:57,362
...we looked at the book,
we went back to the book...

1353
01:16:57,529 --> 01:17:00,615
...to find the kind of
inspiration for the locations.

1354
01:17:00,782 --> 01:17:05,203
And I think that really
was our guideline initially.

1355
01:17:05,370 --> 01:17:08,748
Obviously, the story had been
updated for the screenplay.

1356
01:17:08,915 --> 01:17:11,709
But the actual look of it
and the relationship to...

1357
01:17:12,168 --> 01:17:14,838
Certainly for the casino...

1358
01:17:15,004 --> 01:17:19,300
...It was the first location that
Peter Lamont and I ever went to.

1359
01:17:19,467 --> 01:17:21,553
And it, apart from not
being on the coast...

1360
01:17:21,719 --> 01:17:25,723
...as it was in the original
book, the relationship...

1361
01:17:25,890 --> 01:17:31,104
...between the casino and the hotel
was absolutely perfect for the film.

1362
01:17:32,647 --> 01:17:35,900
Hello, I'm Lindy Hemming. I'm the
costume designer of Casino Royale.

1363
01:17:36,067 --> 01:17:38,278
And we're talking about
Valenka the character...

1364
01:17:38,444 --> 01:17:40,947
...who's one of the characters
I would say in this film...

1365
01:17:41,114 --> 01:17:46,369
...whose clothes are sort of 85
to 90 percent product placement.

1366
01:17:46,536 --> 01:17:50,206
Because we really went... We
had her for a very short time.

1367
01:17:50,373 --> 01:17:53,918
We made quite a lot of plans
about what she should wear.

1368
01:17:54,085 --> 01:17:58,131
And they more or less worked,
the plans, because we had her...

1369
01:17:58,298 --> 01:18:04,554
...in a fabulous ocean blue,
electric blue bathing costume...

1370
01:18:04,721 --> 01:18:08,141
...at the beginning of her sequences,
when she swims underwater.

1371
01:18:08,308 --> 01:18:12,103
And then we borrowed mercilessly
from every designer we could...

1372
01:18:12,270 --> 01:18:14,439
...to get her clothes
for the rest of the film.

1373
01:18:15,023 --> 01:18:18,276
And I'd say that two
of her best outfits...

1374
01:18:18,443 --> 01:18:22,113
...the striped dress with the
jewelled cuffs and collar...

1375
01:18:22,280 --> 01:18:26,409
...which she wears on the
yacht came from Cavalli.

1376
01:18:26,576 --> 01:18:28,953
And so did the yellow dress...

1377
01:18:29,120 --> 01:18:34,500
...which she wears when
she's being attacked.

1378
01:18:37,462 --> 01:18:41,591
I'm Gary Powell, I'm the stunt
coordinator on Casino Royale.

1379
01:18:44,093 --> 01:18:46,012
I've been brought up
with James Bond films.

1380
01:18:46,179 --> 01:18:48,973
And they are the pinnacle
of action films, you know?

1381
01:18:49,140 --> 01:18:53,311
If you ask any stunt man in the
world what film he'd like to work on...

1382
01:18:53,478 --> 01:18:54,729
...it's a James Bond film.

1383
01:18:54,896 --> 01:18:58,608
And, you know, it's a dream
come true to perform on one.

1384
01:18:58,775 --> 01:19:01,415
It's a second dream come true to
actually coordinate one, you know?

1385
01:19:01,569 --> 01:19:04,989
When I actually got the job, I
was like, you know, jumping around.

1386
01:19:05,156 --> 01:19:06,532
It was like the
best feeling ever.

1387
01:19:06,699 --> 01:19:12,330
And, you know, it never sort of went
down from there. It still is just great.

1388
01:19:18,002 --> 01:19:19,462
The challenge
with coordinating...

1389
01:19:19,629 --> 01:19:22,674
...Is obviously, you know, just
trying to keep it fresh, you know?

1390
01:19:22,840 --> 01:19:25,760
We didn't reinvent the
wheel on Casino Royale.

1391
01:19:25,927 --> 01:19:28,471
We just went back to
the original Bond stuff.

1392
01:19:28,638 --> 01:19:31,849
And, you know, I think it's
sort of gone full circle now.

1393
01:19:32,016 --> 01:19:34,852
For years, we've had the CGl
stuff. And it's great, you know?

1394
01:19:35,019 --> 01:19:38,314
We can't do without it. But
we've had enough of it for now.

1395
01:19:38,481 --> 01:19:41,985
Every time I hear someone mentions
it, all they're doing is filming air.

1396
01:19:42,151 --> 01:19:43,653
And they wanna go
back to real stunts.

1397
01:19:43,820 --> 01:19:46,239
That seems to be the
way it's gone for now.

1398
01:19:46,406 --> 01:19:49,909
And, you know, lucky enough
they gave us the sort of the leeway...

1399
01:19:50,076 --> 01:19:53,496
...and, you know, the
backing to do it all for real.

1400
01:19:58,251 --> 01:20:00,878
Well, the stairwell fight takes
place over sort of, let's say...

1401
01:20:01,045 --> 01:20:04,716
...four flights or four floors.
That's like eight flights of stairs.

1402
01:20:05,717 --> 01:20:07,051
The staircase is easy.

1403
01:20:07,218 --> 01:20:10,388
But of course, the big thing
is the battle has got to be shot.

1404
01:20:10,555 --> 01:20:13,891
So the whole
staircase was made...

1405
01:20:14,058 --> 01:20:16,728
...so that we could float
all the walls around it.

1406
01:20:16,894 --> 01:20:19,188
So in effect, the whole
stairway would stand there.

1407
01:20:19,355 --> 01:20:24,861
And you could take away all the
walls. The stairway would stand.

1408
01:20:25,028 --> 01:20:27,628
But every landing, therefore,
had a landing all the way around it.

1409
01:20:27,780 --> 01:20:30,783
You could take it off So you
could get the unit down there.

1410
01:20:30,950 --> 01:20:34,078
Second unit did quite a lot
of it. Barton did quite a lot too.

1411
01:20:34,954 --> 01:20:36,581
Martin Campbell
wanted Daniel Craig...

1412
01:20:36,748 --> 01:20:40,043
...to do as much as he
physically could inside there.

1413
01:20:40,209 --> 01:20:43,004
So we sort of started blocking
through things and the idea of it.

1414
01:20:43,171 --> 01:20:46,799
And spoke to Peter Lamont. And
for us, the best way to have done it...

1415
01:20:46,966 --> 01:20:49,093
...was literally
from top to bottom...

1416
01:20:49,260 --> 01:20:51,346
...the whole stairwell
was rubber walled...

1417
01:20:51,512 --> 01:20:56,601
...all the way down. So literally
you could bounce off all the walls.

1418
01:20:56,768 --> 01:20:59,812
And obviously, you know, it
hurts if you keep on doing it.

1419
01:20:59,979 --> 01:21:03,816
But, you know, it made it a lot
easier than hitting solid walls.

1420
01:21:03,983 --> 01:21:06,402
Gary Powell, our
stunt coordinator...

1421
01:21:06,569 --> 01:21:09,280
...he wanted, you know,
obviously a lot of padding.

1422
01:21:09,447 --> 01:21:14,494
And the stairs were upholstered
in rubber, same as the walls...

1423
01:21:14,660 --> 01:21:16,704
...So that people didn't
hurt themselves, you know?

1424
01:21:16,871 --> 01:21:22,335
But although Daniel is there, he
did have a double. And, you know.

1425
01:21:22,502 --> 01:21:24,962
But the thing was to
make it easy for the unit.

1426
01:21:25,129 --> 01:21:27,890
Because we wanted to make it
messy. We didn't want it choreographed...

1427
01:21:28,049 --> 01:21:30,134
...where it's like you
thought, "He hit that mark."

1428
01:21:30,301 --> 01:21:33,596
You know, if Daniel gets
thrown, he gets thrown.

1429
01:21:33,721 --> 01:21:36,081
If he sort of bounces and
ricochets off a couple of walls...

1430
01:21:36,224 --> 01:21:37,544
...that's exactly
what we wanted.

1431
01:21:37,683 --> 01:21:41,145
So you really can sort of put
yourself into it 100 percent.

1432
01:21:41,312 --> 01:21:42,647
Throw yourself
down the stairs...

1433
01:21:42,814 --> 01:21:47,485
...and, you know, looked
like it hurt. Probably did.

1434
01:21:47,652 --> 01:21:49,487
You know, and it just
gives it that energy...

1435
01:21:49,654 --> 01:21:52,281
...and, you know, that
sort of gritty feel to it.

1436
01:21:55,785 --> 01:21:59,288
This is Phil Méheux, director of
photography of Casino Royale.

1437
01:21:59,455 --> 01:22:02,500
It's a very interesting
sequence...

1438
01:22:02,667 --> 01:22:09,674
...In trying to create the turmoil
in which he now finds himself.

1439
01:22:10,216 --> 01:22:16,472
And also show that he cleans
himself up for what follows next.

1440
01:22:16,973 --> 01:22:20,184
So we decided... We shot
this with two cameras...

1441
01:22:20,351 --> 01:22:23,521
...on opposite sides of him,
which is not normal to do that.

1442
01:22:23,688 --> 01:22:26,649
Because it actually throws the
audience or can throw the audience.

1443
01:22:26,816 --> 01:22:27,900
But in this instance...

1444
01:22:28,067 --> 01:22:30,736
...we intentionally wanted
to throw the audience's mind.

1445
01:22:30,903 --> 01:22:32,280
Because he's got his reflection.

1446
01:22:32,447 --> 01:22:35,241
You see him from both sides
of the face at the same time.

1447
01:22:35,408 --> 01:22:40,538
And the way to do those
scenes is really to have the actor...

1448
01:22:40,705 --> 01:22:44,125
...just keep re-shooting the
same scene several times.

1449
01:22:44,292 --> 01:22:45,543
Just keep running the cameras.

1450
01:22:45,710 --> 01:22:48,463
In fact, don't make him do
things specific for the camera.

1451
01:22:48,629 --> 01:22:52,049
Just make the cameras find what
he does. And of course, inevitably...

1452
01:22:52,216 --> 01:22:56,429
...when he does it several
times, he does it differently.

1453
01:22:57,763 --> 01:23:03,019
Here we are back in the
Casino Royale Salon Privé.

1454
01:23:03,186 --> 01:23:06,230
...If everybody's ready,
let's continue the game.

1455
01:23:12,695 --> 01:23:17,241
And now returns to his hotel
room, or hotel suite, I should say.

1456
01:23:17,408 --> 01:23:18,808
And here, it's
important to show...

1457
01:23:18,951 --> 01:23:23,998
...that Eva Green's character
is not used to this way of life.

1458
01:23:24,165 --> 01:23:28,252
Of people being cut, shot, thrown
down stairs and all the rest of it.

1459
01:23:28,419 --> 01:23:32,757
And it's extraordinarily
traumatic for her.

1460
01:23:34,967 --> 01:23:37,929
And there's a lot of discussion over
what she might wear in this scene.

1461
01:23:38,095 --> 01:23:40,389
And in the end, I think
it was one of the girls...

1462
01:23:40,556 --> 01:23:42,808
...who said that she
would just... As she is.

1463
01:23:42,975 --> 01:23:46,979
She would just go and sit
under the shower in her dress.

1464
01:23:47,146 --> 01:23:49,649
And that was that. So
it just seemed logical...

1465
01:23:49,815 --> 01:23:53,277
...that what might be
convenient for some people...

1466
01:23:53,444 --> 01:23:58,950
...for him to pull her out of
the shower to comfort her.

1467
01:23:59,909 --> 01:24:01,536
We, on this occasion,
decided he would...

1468
01:24:01,786 --> 01:24:06,290
...just go ignore completely the
fact that the shower's running...

1469
01:24:07,250 --> 01:24:10,670
...to show his genuine
concern for her.

1470
01:24:11,254 --> 01:24:15,132
Also, the scene lasted a little
bit longer than you see here.

1471
01:24:17,760 --> 01:24:20,805
And it was a little bit of
electronic morphing, as we say...

1472
01:24:20,972 --> 01:24:25,643
...just right about here,
which shortened the scene.

1473
01:24:26,227 --> 01:24:27,937
I have to say, it's
extraordinarily done...

1474
01:24:28,104 --> 01:24:30,314
...because it's
almost imperceptible.

1475
01:24:30,481 --> 01:24:32,108
One of the challenges
with this scene...

1476
01:24:32,275 --> 01:24:36,320
...was the fact that they are seen
through a sheet of plate glass...

1477
01:24:36,487 --> 01:24:41,242
...and all the reflections
that that caused.

1478
01:24:41,409 --> 01:24:44,704
It's amazing that the
camera is actually reflected.

1479
01:24:44,870 --> 01:24:49,542
But it isn't seen enough for you to
make it out. But it is actually there.

1480
01:24:49,709 --> 01:24:53,504
But the cameras and the
operators are covered in black cloth.

1481
01:24:53,671 --> 01:24:57,633
And also light-wise, I
put most of the light...

1482
01:24:57,800 --> 01:25:00,511
...in the back of the set here
where they're all sitting, nothing...

1483
01:25:00,678 --> 01:25:05,975
...in the part of the set where the
camera was. So it wasn't visible.

1484
01:25:14,692 --> 01:25:16,277
This is Stuart Baird
again, the editor.

1485
01:25:16,444 --> 01:25:19,530
I just wanted to make a few
comments about the card game...

1486
01:25:19,697 --> 01:25:22,158
...which gave us So
much apprehension...

1487
01:25:22,325 --> 01:25:26,495
...when we started making the
movie, in terms of will they hold...

1488
01:25:26,662 --> 01:25:33,377
...and the editorial challenge
that they posed for me.

1489
01:25:33,544 --> 01:25:35,129
We all worried about
the card games...

1490
01:25:35,296 --> 01:25:37,840
...because they came
in that middle section...

1491
01:25:38,007 --> 01:25:42,428
...which often is a
slow section in a movie.

1492
01:25:42,595 --> 01:25:45,139
And they were crucial
to the structure of the film.

1493
01:25:45,306 --> 01:25:47,016
And yet they were
all in the same place...

1494
01:25:47,183 --> 01:25:50,936
...all with the same
people, with the same game.

1495
01:25:51,312 --> 01:25:56,692
And to get the pacing of
them and the sense of...

1496
01:26:00,780 --> 01:26:03,908
...constant interest. And yet
we were absolutely determined...

1497
01:26:04,075 --> 01:26:07,078
...to make the games accurate.
Not to try to sex them up.

1498
01:26:07,244 --> 01:26:12,708
They were accurate games in
terms of their, what do you call, their...

1499
01:26:12,875 --> 01:26:19,382
I'm not a poker expert
but Michael Wilson is.

1500
01:26:19,548 --> 01:26:22,259
And we made it absolutely...
I hope we made it...

1501
01:26:22,426 --> 01:26:26,305
...absolutely accurate in the
game the way it was being played.

1502
01:26:26,472 --> 01:26:30,935
And that created limitations on me
because I wanted to tighten them up.

1503
01:26:31,102 --> 01:26:34,563
We did a lot of tightening. Huge
tightening in those sequences.

1504
01:26:34,730 --> 01:26:37,942
And but we still had to
feel the game was going.

1505
01:26:38,109 --> 01:26:40,444
But essentially, if you
see those sequences...

1506
01:26:40,611 --> 01:26:43,114
...those sequences
are like any...

1507
01:26:43,280 --> 01:26:46,659
I've cut other films which
have card games in it.

1508
01:26:46,826 --> 01:26:52,123
It's a mano to mano. It's really
eyeball to eyeball rather than the cards.

1509
01:26:52,289 --> 01:26:54,709
And so Martin and I...
You know, I said to him...

1510
01:26:54,875 --> 01:26:57,628
...when we were discussing
how to shoot these scenes.

1511
01:26:57,795 --> 01:27:01,006
Because those weren't
storyboarded, because it's impossible...

1512
01:27:01,173 --> 01:27:06,387
...to storyboard a game. Or he
felt it was impossible to storyboard.

1513
01:27:06,470 --> 01:27:09,140
But he had planned a
load of shots. But I just said:

1514
01:27:09,223 --> 01:27:12,810
"You really have to shoot
everything you can possibly think of.

1515
01:27:12,977 --> 01:27:16,480
And that is left. Leave it with
me as an editorial process."

1516
01:27:16,647 --> 01:27:20,151
So we shot a close-up. A lot of
close-up eyes, close-up hands...

1517
01:27:20,317 --> 01:27:24,405
...close-up cards. Wide shot,
crane shot, tracking-round shot.

1518
01:27:24,572 --> 01:27:26,782
And then it's really
an editorial job.

1519
01:27:26,949 --> 01:27:32,413
And almost more of an editorial
job than the action sequences.

1520
01:27:33,998 --> 01:27:36,292
Well, because as I explained,
the action sequences...

1521
01:27:36,459 --> 01:27:41,964
...were storyboarded and
structured in each of the shots.

1522
01:27:42,798 --> 01:27:47,344
So those that maybe look less
interesting in terms editorially...

1523
01:27:47,511 --> 01:27:52,558
...actually if you analyse them,
are actually more interesting...

1524
01:27:52,725 --> 01:27:56,854
...than running around and
chasing and beating people up.

1525
01:27:57,021 --> 01:27:59,857
Editorially, if you're interested
in the structure of movies...

1526
01:28:00,024 --> 01:28:01,317
...and how you create tension...

1527
01:28:01,484 --> 01:28:07,031
...and you create a
buildup or an atmosphere...

1528
01:28:07,198 --> 01:28:11,160
...Is to look at
dialogue sequences...

1529
01:28:12,036 --> 01:28:14,288
...and more subtle sequences.

1530
01:28:14,663 --> 01:28:17,082
Because you put
just as much work in.

1531
01:28:17,249 --> 01:28:20,377
As I said, maybe
more work into those.

1532
01:28:24,924 --> 01:28:29,220
Hello, Debbie McWilliams again.
Big poker game was quite a task.

1533
01:28:29,386 --> 01:28:32,932
We started off thinking that we
should have real poker players.

1534
01:28:33,098 --> 01:28:35,893
But the truth being
that actually actors...

1535
01:28:36,060 --> 01:28:37,978
...are so much better
in front of a camera.

1536
01:28:38,145 --> 01:28:42,399
And so then we thought, "Oh,
we'll find actors who play poker."

1537
01:28:42,566 --> 01:28:46,237
And we didn't have much luck
there either. So then the idea was...

1538
01:28:46,403 --> 01:28:49,782
...okay, well, we'll cast a really
interesting group of actors...

1539
01:28:49,949 --> 01:28:52,034
...and then we'll teach
them to play poker.

1540
01:28:52,201 --> 01:28:53,681
And that was what
happened in the end.

1541
01:28:53,828 --> 01:28:57,832
Is that in all the countries that
I went to during the casting...

1542
01:28:57,998 --> 01:29:03,003
...we sort of picked one or two of
the more interesting-looking people.

1543
01:29:03,170 --> 01:29:06,966
And then also one of
the ideas was to revisit...

1544
01:29:07,132 --> 01:29:11,971
...one of our old friends from another
film. And we tracked down Tsai Chin.

1545
01:29:12,137 --> 01:29:15,266
And she was very
pleased to be contacted.

1546
01:29:15,432 --> 01:29:21,272
And, well, she's kind of one of the top
lady players in the world, in our story.

1547
01:29:21,438 --> 01:29:26,610
That was the impression. So
she got to play on the boat as well.

1548
01:29:26,777 --> 01:29:31,282
We then started our own
poker academy, is all I can call it.

1549
01:29:31,448 --> 01:29:34,827
We found a poker
expert, Tom Brook...

1550
01:29:34,994 --> 01:29:37,538
...who went to each of
these people and spent...

1551
01:29:37,705 --> 01:29:40,875
...some considerable time with them,
teaching them the rudiments of poker.

1552
01:29:41,041 --> 01:29:45,170
We then had everyone come out to
Prague, where we were shooting...

1553
01:29:45,337 --> 01:29:47,673
...a good week before the game.

1554
01:29:47,840 --> 01:29:52,094
And spent all day, every
day, at a poker table...

1555
01:29:52,261 --> 01:29:54,141
...until everyone was
familiar with the moves...

1556
01:29:54,305 --> 01:29:56,985
...the way you would hold your
cards, the way you'd move your chips.

1557
01:29:57,141 --> 01:29:58,601
Because for me,
it was essential...

1558
01:29:58,767 --> 01:30:01,478
...that it looked like they really
knew what they were doing.

1559
01:30:01,645 --> 01:30:05,107
This was a game of
world-class poker players...

1560
01:30:06,233 --> 01:30:08,670
...and they had to look the
business. And we worked very hard.

1561
01:30:08,694 --> 01:30:12,781
And everybody became
completely obsessed with poker.

1562
01:30:13,240 --> 01:30:16,827
-I'm Robert Wade.
-I'm Neal Purvis.

1563
01:30:16,994 --> 01:30:20,039
This scene, I think, is an
improvement on the book.

1564
01:30:20,205 --> 01:30:24,877
In that she turns him down
when he wants the money.

1565
01:30:25,044 --> 01:30:27,171
Well, she has an
important job in the film.

1566
01:30:27,338 --> 01:30:31,091
In the book she's Mathis'
assistant, isn't she?

1567
01:30:31,258 --> 01:30:32,343
Basically, yes.

1568
01:30:32,509 --> 01:30:38,974
Well, this is her job in action.
Her being tough and responsible.

1569
01:30:39,141 --> 01:30:40,976
But there's another layer to it.

1570
01:30:41,143 --> 01:30:45,022
Because what she's really
doing is helping the villains.

1571
01:30:45,189 --> 01:30:49,026
Because by keeping Bond out of
the game, that ends his involvement.

1572
01:30:49,193 --> 01:30:51,070
She's also trying
to save his life.

1573
01:30:51,236 --> 01:30:54,949
Because they don't need him
to die if he's not in the game.

1574
01:30:55,115 --> 01:30:57,201
So she's doing this
for his own good...

1575
01:30:57,368 --> 01:31:01,622
...and because she's being
made to do it by the secret villains.

1576
01:31:01,872 --> 01:31:03,540
She gives a great
performance, I think...

1577
01:31:03,707 --> 01:31:07,044
...because there's so much going
on. So many levels and layers...

1578
01:31:07,211 --> 01:31:10,714
...to what her character is
going through at this point.

1579
01:31:10,881 --> 01:31:17,596
And in fact, none of that is in the
book at this kind of level of drama.

1580
01:31:17,763 --> 01:31:20,474
She's just quietly
betraying Bond.

1581
01:31:20,641 --> 01:31:24,269
Here she has a moment
where she can show it.

1582
01:31:24,436 --> 01:31:28,691
What is she really doing?
She's declining him the money...

1583
01:31:28,857 --> 01:31:31,110
...which means that
he's out of the game...

1584
01:31:31,276 --> 01:31:33,779
...which means the
villains are gonna win.

1585
01:31:33,946 --> 01:31:38,325
But at the same time, she's
excluding him from the game...

1586
01:31:38,492 --> 01:31:42,037
...which means his life
is no longer under threat.

1587
01:31:42,204 --> 01:31:43,247
Very well put.

1588
01:31:43,414 --> 01:31:47,918
So in this scene, Bond decides no
one else is gonna take care of this.

1589
01:31:48,085 --> 01:31:50,713
Le Chiffre is just gonna
win, he's gonna get away.

1590
01:31:50,879 --> 01:31:52,965
I'm gonna have to take
it into my own hands.

1591
01:31:53,132 --> 01:31:55,551
This is his hotheadedness
coming back again.

1592
01:31:55,718 --> 01:31:56,760
Grabs the knife.

1593
01:31:56,927 --> 01:31:59,263
He's not different from the
beginning of the movie, really.

1594
01:31:59,430 --> 01:32:02,850
He's gonna kill him. It's a suicide
mission. He'll get killed in the process.

1595
01:32:03,183 --> 01:32:04,643
But at least he'll
have stopped him.

1596
01:32:04,810 --> 01:32:06,854
Letter sees what
he's going to do.

1597
01:32:07,021 --> 01:32:09,189
And he knows that that
will blow the whole thing.

1598
01:32:09,356 --> 01:32:12,818
The game will end, it will
be a complete disaster.

1599
01:32:12,985 --> 01:32:16,739
So if he can keep Bond going
in the game. I mean, he's right.

1600
01:32:16,905 --> 01:32:19,074
-Bond has got a chance of winning.
-Yes.

1601
01:32:19,616 --> 01:32:25,581
In the book, it's just a kind of,
he's bailed out by the Americans...

1602
01:32:25,748 --> 01:32:29,752
...out of the blue. It
seems very fortuitous.

1603
01:32:29,918 --> 01:32:32,129
But I think that,
with this structure...

1604
01:32:32,296 --> 01:32:35,466
...we kind of made it more
keyed in to Bond's character.

1605
01:32:35,632 --> 01:32:37,301
You'd have thought
that, you know...

1606
01:32:37,468 --> 01:32:39,344
...in the same way as
his hotheadedness...

1607
01:32:39,511 --> 01:32:42,473
...there's something
about Bond's character...

1608
01:32:42,639 --> 01:32:46,226
...that is good for
the game of poker.

1609
01:32:46,727 --> 01:32:52,066
I mean, keeping himself under
control, but he's prepared to take risks.

1610
01:32:52,232 --> 01:32:55,444
Perhaps more so than
Felix would be able to.

1611
01:32:56,320 --> 01:32:59,364
This is Phil Méheux, director of
photography of Casino Royale.

1612
01:32:59,531 --> 01:33:00,824
Start with the Salon Privé.

1613
01:33:00,991 --> 01:33:02,493
The fact that was
a very good shot...

1614
01:33:02,659 --> 01:33:05,871
...to display what some
of the problems are with it.

1615
01:33:06,038 --> 01:33:10,084
Which is you're lighting
their faces around that table.

1616
01:33:10,250 --> 01:33:12,836
At the same time, when you're
far enough away from the table...

1617
01:33:13,003 --> 01:33:16,507
...to see that there aren't any
film lights getting in the way...

1618
01:33:16,673 --> 01:33:19,676
...and that they're, you know,
that they're not showing up.

1619
01:33:19,843 --> 01:33:22,888
And one of the things that I
had to constantly think about...

1620
01:33:23,055 --> 01:33:26,475
...was, A, to change the camera
angle for each card game...

1621
01:33:26,642 --> 01:33:28,894
...so that the audience
wouldn't get bored.

1622
01:33:29,061 --> 01:33:34,191
Here we're using wide-angle
lenses. And he throws the cards here.

1623
01:33:34,358 --> 01:33:39,029
I'm particularly fond of this
shot here, which is unusual.

1624
01:33:40,030 --> 01:33:44,159
And being able to light them
around that table, at the same time...

1625
01:33:44,326 --> 01:33:48,205
...give it the illusion of what it is
and make everyone look attractive.

1626
01:33:49,039 --> 01:33:51,792
In this scene, the poison.

1627
01:33:51,959 --> 01:33:56,380
I think the thing about any
scene, and this just displays it...

1628
01:33:56,547 --> 01:33:59,466
...Is that you've gotta make
things clear to an audience...

1629
01:33:59,633 --> 01:34:01,218
...this is exactly
what is going on.

1630
01:34:01,385 --> 01:34:04,096
The fact that you've shown
those two glasses in close-up...

1631
01:34:04,263 --> 01:34:06,890
...makes the audience think
something's gonna happen here.

1632
01:34:07,057 --> 01:34:09,226
And you don't know what
and we don't know what.

1633
01:34:09,393 --> 01:34:15,732
And the look on Le Chiffre's
face also has plenty to say.

1634
01:34:15,899 --> 01:34:17,568
That he expects something.

1635
01:34:17,734 --> 01:34:19,736
He's waiting for
something to take place.

1636
01:34:19,903 --> 01:34:24,575
And before long, we
see this take place.

1637
01:34:24,741 --> 01:34:29,746
And here, I deliberately made
the lighting less attractive...

1638
01:34:29,913 --> 01:34:33,584
...to show that things were
going on inside his head.

1639
01:34:33,750 --> 01:34:37,963
Not so much for Le Chiffre,
but certainly for Craig.

1640
01:34:39,423 --> 01:34:41,633
We went through many ideas
as to how we should convey...

1641
01:34:41,800 --> 01:34:43,427
...what's actually
going on in his head.

1642
01:34:43,594 --> 01:34:48,223
The first idea here was to make
the lights in the room seem so bright...

1643
01:34:48,390 --> 01:34:50,110
...that it's almost
painful to look at them.

1644
01:34:50,267 --> 01:34:52,227
And the fact that the
camera doesn't stay still...

1645
01:34:52,352 --> 01:34:55,898
...it's constantly twisting and turning
give that feeling of wanting to vomit.

1646
01:34:56,064 --> 01:34:59,026
I changed the shutter
angle to 45 degrees...

1647
01:34:59,193 --> 01:35:02,446
...which gives a slightly more pixilated
look. It looks like a flash photograph.

1648
01:35:02,613 --> 01:35:06,116
In other words, motion becomes
much clearer and sharper.

1649
01:35:06,283 --> 01:35:09,161
And you'll notice it more with
the water falling out of the glass.

1650
01:35:09,328 --> 01:35:11,788
There's not much that moves
in the scene apart from Daniel...

1651
01:35:11,955 --> 01:35:14,458
...and he's too big a thing
for the effect to show up.

1652
01:35:14,625 --> 01:35:17,294
But I think it adds
something to it.

1653
01:35:18,962 --> 01:35:23,300
Here we're outside of him
again, viewing him objectively.

1654
01:35:23,800 --> 01:35:28,722
And when he gets to his car, I
continue on this frenetic camera move.

1655
01:35:28,889 --> 01:35:33,685
And the problem here being
that we shot this at night.

1656
01:35:34,353 --> 01:35:37,356
And with a car, which is a
very reflective surface actually...

1657
01:35:37,522 --> 01:35:40,400
...If you think of the
windows IN the car surface.

1658
01:35:40,567 --> 01:35:45,030
So positioning the lamp so they
don't reflect in anything was quite tricky.

1659
01:35:45,197 --> 01:35:49,743
And also, with the earlier part of the
sequence, with the wide-angle lens...

1660
01:35:49,910 --> 01:35:52,746
...as it twists and turns, you
see a lot of the street behind him.

1661
01:35:52,913 --> 01:35:56,541
So obviously, all of that street
had to be illuminated and lit.

1662
01:35:57,709 --> 01:36:01,505
And here we're in
the Barrandov Stage.

1663
01:36:01,713 --> 01:36:02,798
...exactly what I tell you.

1664
01:36:03,048 --> 01:36:04,258
I'm all ears.

1665
01:36:04,424 --> 01:36:06,009
Remove the defibrillator
from the pouch.

1666
01:36:06,176 --> 01:36:08,512
-Do we know what it is yet?
-We're still scanning.

1667
01:36:08,679 --> 01:36:11,556
And now we're back
outside the Hotel Pupp...

1668
01:36:11,723 --> 01:36:16,186
...in Karlovy Vary in
the Czech Republic.

1669
01:36:16,353 --> 01:36:20,524
And most of this is
theoretically possible.

1670
01:36:20,691 --> 01:36:23,860
Although there's some doubt
as to whether a small device...

1671
01:36:24,027 --> 01:36:26,530
...would have enough power
to do what it's supposed to do.

1672
01:36:26,697 --> 01:36:31,368
But we had a lot of
technical advice on this scene.

1673
01:36:31,535 --> 01:36:32,869
Adrenaline?

1674
01:36:33,036 --> 01:36:35,181
-As soon as it reads charged...
-Lidocaine. That'll work.

1675
01:36:35,205 --> 01:36:38,583
These scenes are always a trial to
shoot. Because a load of people...

1676
01:36:38,750 --> 01:36:42,129
...looking at a computer
screen is not terribly exciting.

1677
01:36:42,462 --> 01:36:45,966
The set. We had the set built with
fluorescent tubes as part of the set.

1678
01:36:46,133 --> 01:36:51,847
And I decided I'd use that
strange sort of bluey-green colour...

1679
01:36:52,014 --> 01:36:55,976
...that you get from tubes to
signify the really different place.

1680
01:36:56,143 --> 01:36:59,563
And what's important here
is that all these three places...

1681
01:36:59,730 --> 01:37:05,068
...the laboratory, him in
the car and Dench's office...

1682
01:37:05,235 --> 01:37:07,195
...they should all have
a slightly different look.

1683
01:37:07,362 --> 01:37:09,990
If you'll notice that you know
where you are in each one.

1684
01:37:10,157 --> 01:37:12,159
There's no confusion as
to who you're looking at...

1685
01:37:12,451 --> 01:37:15,537
...and what scene
you're dealing with.

1686
01:37:22,753 --> 01:37:25,422
Of course. This scene
causes the whole reason...

1687
01:37:25,589 --> 01:37:31,428
...that you see him impregnated with
that chip at the beginning of the film.

1688
01:37:39,936 --> 01:37:43,523
And you'll notice that
once he collapses...

1689
01:37:44,274 --> 01:37:46,735
...the camera actually
becomes more static.

1690
01:37:46,902 --> 01:37:49,154
Because in a sense, one
of two things is happening.

1691
01:37:49,321 --> 01:37:51,531
Either he's dying or
he's gonna be rescued.

1692
01:37:51,698 --> 01:37:54,826
And of course, as we know,
he eventually gets rescued.

1693
01:37:54,993 --> 01:37:58,205
And the camera becomes much
more conventionally mounted then.

1694
01:37:58,372 --> 01:38:02,376
And it becomes much more back
to normal with the static camera.

1695
01:38:02,542 --> 01:38:05,837
-Now get yourself off to a hospital.
-I will do.

1696
01:38:07,130 --> 01:38:08,548
As soon as I've won this game.

1697
01:38:08,715 --> 01:38:11,468
You're not seriously
going back there?

1698
01:38:14,012 --> 01:38:15,680
I wouldn't dream of it.

1699
01:38:17,391 --> 01:38:19,017
Bet. One million.

1700
01:38:19,184 --> 01:38:24,523
Prague is becoming a little bit of a
centre now for filmmaking in Europe.

1701
01:38:24,689 --> 01:38:27,984
Principally because they
have studio facilities...

1702
01:38:28,151 --> 01:38:31,071
...they have backup facilities,
they have cameras, they have lights.

1703
01:38:31,238 --> 01:38:33,782
Several companies
have opened up there.

1704
01:38:36,701 --> 01:38:38,912
And as each film
comes along, of course...

1705
01:38:39,079 --> 01:38:42,624
...more and more people get trained,
more of the people get experienced.

1706
01:38:43,917 --> 01:38:46,837
So it's really quite a
good workforce there.

1707
01:38:47,879 --> 01:38:52,092
And at least three or four films are
going on at any one particular time.

1708
01:38:52,259 --> 01:38:55,011
...with this chip exchange, we
enter the final phase of the game...

1709
01:38:55,178 --> 01:38:56,972
...which means no more buy-ins.

1710
01:38:57,139 --> 01:39:00,350
The big blind is
now 1 million dollars.

1711
01:39:07,482 --> 01:39:08,650
Four players.

1712
01:39:11,403 --> 01:39:12,821
It's your bet.

1713
01:39:13,530 --> 01:39:17,367
Here they're getting
ready for the final game.

1714
01:39:18,201 --> 01:39:23,331
This character here is... He's
used to tell us what's happening.

1715
01:39:23,498 --> 01:39:25,459
Because the thing
about cards is that...

1716
01:39:25,625 --> 01:39:28,253
...unless you're a poker player,
even if you are a poker player...

1717
01:39:28,420 --> 01:39:31,214
...you don't know what
everybody's holding in their hands.

1718
01:39:31,381 --> 01:39:35,385
So most of the tension
is actually invisible.

1719
01:39:35,552 --> 01:39:37,596
It's invisible to
everybody at the table.

1720
01:39:37,762 --> 01:39:40,474
It's invisible to
you as a viewer.

1721
01:39:40,640 --> 01:39:41,808
So we had many discussions...

1722
01:39:41,975 --> 01:39:45,979
...as to how we could make these
interesting for an audience to watch.

1723
01:39:46,146 --> 01:39:47,772
You'll notice that
each of these games...

1724
01:39:47,939 --> 01:39:50,650
...Is very subtly
differently photographed.

1725
01:39:50,817 --> 01:39:55,322
The one before he got drugged
was in fact very wide-angle lenses.

1726
01:39:55,489 --> 01:39:58,617
This one now, the lenses
are getting tighter and tighter...

1727
01:39:58,783 --> 01:40:01,119
...and longer and longer.

1728
01:40:01,286 --> 01:40:03,121
And the faces are
getting bigger and bigger...

1729
01:40:03,288 --> 01:40:06,500
...because it's really
about, as all poker is...

1730
01:40:06,666 --> 01:40:08,752
It's about fighting
your opponent.

1731
01:40:08,919 --> 01:40:10,712
Or dealing with your
opponent, as it were.

1732
01:40:10,879 --> 01:40:12,130
Rather than the cards he has...

1733
01:40:12,297 --> 01:40:17,469
...it's forcing him to make
a move that he might regret.

1734
01:40:18,595 --> 01:40:21,097
But here we have a
situation is how do we see...

1735
01:40:21,264 --> 01:40:23,600
How do we know where
Bond is in the firmament?

1736
01:40:23,767 --> 01:40:26,686
How do we know whether
he's gonna win or lose?

1737
01:40:27,062 --> 01:40:29,731
So we at least give you
one clue as an audience.

1738
01:40:29,898 --> 01:40:33,026
We allow you to see
Le Chiffre's cards.

1739
01:40:33,193 --> 01:40:37,197
And to see that, in fact, he
has an extremely good hand.

1740
01:40:37,364 --> 01:40:39,741
At this moment in time, we
can't see any of the other cards.

1741
01:40:39,908 --> 01:40:41,910
So we don't know who else
has got a very good hand.

1742
01:40:42,077 --> 01:40:44,538
But, of course, the film is
basically about these two...

1743
01:40:44,704 --> 01:40:48,500
...80 there's a good chance that the
end denouement's going to involve...

1744
01:40:48,667 --> 01:40:50,335
...these two characters.

1745
01:40:50,502 --> 01:40:51,711
Raise. All in.

1746
01:40:56,049 --> 01:40:58,593
And here comes Le Chiffre,
who's looking at what there is.

1747
01:40:58,760 --> 01:41:02,347
If you're a poker player,
you'll see what there is there.

1748
01:41:02,514 --> 01:41:06,726
And you'll see what he's about to
show you now, in this very big close-up...

1749
01:41:06,893 --> 01:41:09,521
...which was designed
to do what he's doing.

1750
01:41:09,688 --> 01:41:12,816
And he's realised... And
you, as an audience, realise...

1751
01:41:12,983 --> 01:41:15,151
...that he's got a good
chance of winning this game.

1752
01:41:15,318 --> 01:41:19,489
And there are, in fact, very few hands
that can beat this at poker, I am told.

1753
01:41:19,656 --> 01:41:22,993
And to deal all these poker
games, they must be, of course...

1754
01:41:23,159 --> 01:41:24,786
...be accurate
from start to finish.

1755
01:41:24,953 --> 01:41:28,456
The cards have to come out of
the dealer's hands in the right order.

1756
01:41:28,623 --> 01:41:31,263
Everybody has to have the right
amount of money in front of them...

1757
01:41:31,418 --> 01:41:35,255
...as the games progress. So
there was a lot of consultation.

1758
01:41:35,422 --> 01:41:39,342
A lot of planning
went into all of this.

1759
01:41:39,509 --> 01:41:42,637
And, in fact, we spent a
whole day with the actors...

1760
01:41:42,804 --> 01:41:45,432
...actually playing the
games, without any cameras...

1761
01:41:45,599 --> 01:41:48,351
...so that all of us could see
and the actors could see...

1762
01:41:48,518 --> 01:41:50,937
...where everybody was
in each of these scenes.

1763
01:41:51,104 --> 01:41:55,859
And myself and Martin Campbell
were able to walk around the table...

1764
01:41:56,026 --> 01:42:00,030
...and look at ideas
and positions of people.

1765
01:42:00,196 --> 01:42:02,490
And you'll notice
how the whole thing...

1766
01:42:02,657 --> 01:42:04,576
The shots have got
tighter and tighter...

1767
01:42:04,743 --> 01:42:09,831
...as the game is coming
almost to the final denouement.

1768
01:42:09,998 --> 01:42:14,085
And here, Le Chiffre
feels totally confident...

1769
01:42:14,252 --> 01:42:17,714
...that he's got probably the best hand.
He's beaten the other two characters.

1770
01:42:17,881 --> 01:42:22,969
And you think, "Now how's
Bond gonna get out of this?"

1771
01:42:23,136 --> 01:42:26,681
Of course, there is only
one possible solution.

1772
01:42:27,265 --> 01:42:31,394
Only one possible set of cards that
you can have that would beat this.

1773
01:42:31,561 --> 01:42:32,801
When he turns the cards over...

1774
01:42:32,937 --> 01:42:35,398
And, of course, initially,
when you see the cards...

1775
01:42:35,565 --> 01:42:37,205
...it doesn't look like
that great a hand.

1776
01:42:37,359 --> 01:42:40,737
But when it's laid out as a
straight flush, which is what it is...

1777
01:42:40,904 --> 01:42:44,866
...you then realise that
he's got the best hand.

1778
01:42:45,033 --> 01:42:48,411
In order to telegraph
that to an audience...

1779
01:42:48,578 --> 01:42:51,581
...who are not familiar with
cards and how cards work...

1780
01:42:51,748 --> 01:42:56,461
...the sound of applause was
laid over this particular shot.

1781
01:42:56,628 --> 01:43:00,423
In order to tell everybody that,
yes, he's done it. He's actually won.

1782
01:43:00,590 --> 01:43:02,592
-For you.
-Thank you very much.

1783
01:43:04,260 --> 01:43:07,722
My name is David G. Wilson. I'm the
assistant producer on Casino Royale.

1784
01:43:07,889 --> 01:43:12,268
I think that, you know, filming
at home with Pinewood Studios...

1785
01:43:12,435 --> 01:43:14,854
...has a certain
comfort-familiarity factor.

1786
01:43:15,021 --> 01:43:17,857
And I think that going to the
Czech Republic, you know...

1787
01:43:18,024 --> 01:43:21,403
...was responsible, in some small
way, for the look of the picture.

1788
01:43:21,569 --> 01:43:25,532
I think there's certain influences
you have with certain crews...

1789
01:43:25,699 --> 01:43:28,952
...that affect the visual
and the feel of the film.

1790
01:43:29,619 --> 01:43:31,705
And I think it gave the film...

1791
01:43:31,871 --> 01:43:36,167
...a sort of crisper,
slightly darker look to it...

1792
01:43:36,334 --> 01:43:38,134
...that is in large part
due to Phil Méheux...

1793
01:43:38,294 --> 01:43:40,894
...but I think also because we're
all working in that environment.

1794
01:43:41,005 --> 01:43:45,260
It did inform the process, yes. I think it
made the film look like a different film.

1795
01:43:45,427 --> 01:43:47,667
And feel like a different film
than it would have done...

1796
01:43:47,804 --> 01:43:50,515
...If we were filming
here at Pinewood.

1797
01:43:50,807 --> 01:43:52,434
They're going to
extract him before dawn.

1798
01:43:52,600 --> 01:43:54,978
This is Phil Méheux,
director of photography.

1799
01:43:55,145 --> 01:43:57,985
The interesting thing about this
is that originally this was scripted...

1800
01:43:58,106 --> 01:44:01,401
...that all the card
players were in, dining.

1801
01:44:01,568 --> 01:44:03,653
And they were all called
for their night's work...

1802
01:44:03,820 --> 01:44:06,656
...and I let the entire
restaurant for them.

1803
01:44:06,823 --> 01:44:09,826
And then, it was Daniel
Craig who suggested...

1804
01:44:09,993 --> 01:44:13,663
...that having
won $115 million...

1805
01:44:13,830 --> 01:44:18,376
...he wasn't about to have a romantic
dinner with everybody else watching.

1806
01:44:18,543 --> 01:44:20,086
And that probably
what he'd done...

1807
01:44:20,253 --> 01:44:22,213
...was bought the
restaurant off for the night...

1808
01:44:22,380 --> 01:44:26,384
...So that he could have a
private dinner with Vesper.

1809
01:44:26,551 --> 01:44:31,055
Candlelight is a very tricky
one to handle, because it's...

1810
01:44:31,222 --> 01:44:33,033
You don't get enough
light out of one candle...

1811
01:44:33,057 --> 01:44:35,143
...to actually illuminate
the actors for photography.

1812
01:44:35,310 --> 01:44:37,520
So what you have to
do is create the illusion...

1813
01:44:37,687 --> 01:44:40,315
...and the feeling and the
emotion of candlelight...

1814
01:44:40,482 --> 01:44:43,359
...without the
candlelight itself.

1815
01:44:44,235 --> 01:44:49,574
And here, the lights that are lighting
Vesper and him are off to the side.

1816
01:44:49,741 --> 01:44:52,577
It's more apparent on
his face than it is on hers...

1817
01:44:52,744 --> 01:44:56,706
...but the lights are
actually to his left.

1818
01:44:57,123 --> 01:45:00,043
And they're hidden
behind her silhouette.

1819
01:45:01,127 --> 01:45:04,714
The thing about wide
shots and close-ups is that...

1820
01:45:04,881 --> 01:45:07,425
...you can do a wide shot. You
can put lights a long way away...

1821
01:45:07,592 --> 01:45:10,386
...because you don't see
people clearly enough.

1822
01:45:10,553 --> 01:45:13,223
And when you're shooting
close-up, you can move all the lights...

1823
01:45:13,389 --> 01:45:15,600
...in closer to everybody
and get the best effect...

1824
01:45:15,767 --> 01:45:19,312
...out of their faces
and their facial structure.

1825
01:45:25,777 --> 01:45:27,570
My name is Paul Haggis.

1826
01:45:27,737 --> 01:45:30,907
Bond's moral code is
something that we see shaped...

1827
01:45:31,074 --> 01:45:32,909
...hopefully, in
the early films.

1828
01:45:33,076 --> 01:45:35,578
You know, in the first
incarnation of the Bond films...

1829
01:45:35,745 --> 01:45:40,375
...he pretty much came fully clothed
and fully armoured onto the screen.

1830
01:45:40,542 --> 01:45:45,421
And here we get the chance to
start over and see how it develops.

1831
01:45:45,588 --> 01:45:50,760
See how, you know, he has to
make really difficult decisions.

1832
01:45:50,927 --> 01:45:56,933
And finds himself in morality plays
that he didn't ever figure he'd be in.

1833
01:46:03,439 --> 01:46:06,279
Now here's a shot coming up which
will take me a long time to explain...

1834
01:46:06,401 --> 01:46:09,112
...but it's such a very
short time on the screen.

1835
01:46:10,572 --> 01:46:14,659
When he jumps into the
Aston Martin and drives away...

1836
01:46:15,118 --> 01:46:18,121
Cars being reflective
surfaces, basically.

1837
01:46:18,288 --> 01:46:23,126
They're made of very reflective
paintwork, glass and everything.

1838
01:46:23,293 --> 01:46:24,377
In order to do this shot...

1839
01:46:24,544 --> 01:46:27,171
...and not see a reflection of
the camera or any of the lights...

1840
01:46:27,338 --> 01:46:30,049
...was actually took
a long time to light.

1841
01:46:30,216 --> 01:46:33,344
Hi, this is Gary Powell. I'm the
stunt coordinator on Casino Royale.

1842
01:46:33,511 --> 01:46:36,306
You can't help but get a big smile
across your face when, you know...

1843
01:46:36,472 --> 01:46:38,232
...you hear that we're
gonna get presented...

1844
01:46:38,391 --> 01:46:41,811
...with a brand-new Aston Martin
that no one's ever seen before.

1845
01:46:41,978 --> 01:46:45,315
Then on the next sentence, it's
like, "Also, you're going to crash it."

1846
01:46:45,815 --> 01:46:48,610
But Martin sort of said that
he didn't want a big chase.

1847
01:46:48,776 --> 01:46:50,904
He wanted it to... People
in the audience to think:

1848
01:46:51,070 --> 01:46:53,865
He's got in a car, the
baddies took off in their car...

1849
01:46:54,032 --> 01:46:55,325
...there's gonna be a car chase.

1850
01:46:55,491 --> 01:46:57,952
Just as you're sitting in
your seat to get ready for it...

1851
01:46:58,119 --> 01:46:59,919
...crash-bang-bollock-it's-over
sort of thing.

1852
01:47:00,038 --> 01:47:02,832
So he said, "I want a
really spectacular crash."

1853
01:47:02,999 --> 01:47:05,251
He said, "I want it for
real, all in one shot."

1854
01:47:05,418 --> 01:47:06,753
So I looked on the Internet...

1855
01:47:06,920 --> 01:47:09,360
...and I watched quite a lot of
the world rally championships.

1856
01:47:09,505 --> 01:47:11,825
They always have big crashes
when they go off the course...

1857
01:47:11,966 --> 01:47:14,366
...80 I found a couple, showed
them to Martin, and he's like:

1858
01:47:14,510 --> 01:47:15,870
"Yes, that's
exactly what I want."

1859
01:47:16,012 --> 01:47:18,806
Okay, I've showed him it. Now
I've got to go and do it sort of thing.

1860
01:47:18,973 --> 01:47:22,936
So we had a few test cars,
and the original plan was...

1861
01:47:23,102 --> 01:47:25,855
...he was gonna hit a very
low ramp, an eight-inch ramp...

1862
01:47:26,022 --> 01:47:27,774
..at about 70 miles an hour.

1863
01:47:27,941 --> 01:47:30,735
And with our test cars that
we used, it worked fantastic.

1864
01:47:30,902 --> 01:47:34,030
You come down a road, slightly turn
into it as if he was avoiding the girl...

1865
01:47:34,197 --> 01:47:35,990
...car rolled over,
looked great.

1866
01:47:36,157 --> 01:47:37,867
Then we got an
Aston Martin to try.

1867
01:47:38,034 --> 01:47:40,411
We hit the ramp, and it
just went through the air...

1868
01:47:40,578 --> 01:47:43,331
...straight and up and come
back down on all four wheels.

1869
01:47:43,498 --> 01:47:44,582
Bloody thing.

1870
01:47:44,749 --> 01:47:47,585
So we had three cars
on the night to crash.

1871
01:47:47,752 --> 01:47:51,047
We took the ramp there again, slightly
raised it and moved it to give it a try.

1872
01:47:51,214 --> 01:47:54,008
If it worked, great. If it didn't,
our B plan was to put the...

1873
01:47:54,175 --> 01:47:56,010
We had a cannon in
one of the Aston Martins...

1874
01:47:56,177 --> 01:47:57,887
...which Chris Corbould put in.

1875
01:47:58,054 --> 01:47:59,454
So again, we
tried it on the night.

1876
01:47:59,597 --> 01:48:02,058
Car come down, it hit the
ramp, went up in the air...

1877
01:48:02,225 --> 01:48:04,644
...straightened up, come
back down again. Okay, then.

1878
01:48:04,811 --> 01:48:06,562
So we got the
third Aston Martin...

1879
01:48:06,729 --> 01:48:08,231
...or the second Aston Martin...

1880
01:48:08,398 --> 01:48:10,149
...come down the road
and did the cannon...

1881
01:48:10,316 --> 01:48:13,569
...and got the world
record for the seven rolls.

1882
01:48:14,570 --> 01:48:17,573
This is Phil Méheux, director
of photography, Casino Royale.

1883
01:48:17,740 --> 01:48:19,993
The idea for this
scene came about...

1884
01:48:20,159 --> 01:48:22,537
...because we were
looking for somewhere...

1885
01:48:22,704 --> 01:48:25,081
...where Le Chiffre
could take him that was...

1886
01:48:25,248 --> 01:48:28,292
Be out of the way, and
wouldn't be followed by police...

1887
01:48:28,459 --> 01:48:32,463
...or wouldn't be spotted or they
wouldn't hear noises or whatever.

1888
01:48:32,630 --> 01:48:35,133
And we looked at a
lot of different houses.

1889
01:48:35,299 --> 01:48:40,638
First of all, we looked at an old
castle and all sorts of different places.

1890
01:48:40,805 --> 01:48:46,936
And then it occurred to us that I'd...
We'd actually looked at this area...

1891
01:48:47,103 --> 01:48:49,605
...where these boats were
stored for something else.

1892
01:48:49,772 --> 01:48:53,276
And I remembered it. And
I had a photograph of it.

1893
01:48:53,443 --> 01:48:56,446
And I suggested to
Martin that, you know...

1894
01:48:56,612 --> 01:48:58,531
...why couldn't we use
one of these barges?

1895
01:48:58,698 --> 01:49:00,783
Why couldn't he take him
to somewhere like a barge...

1896
01:49:00,950 --> 01:49:03,244
...a sort of place that
nobody would frequent.

1897
01:49:03,411 --> 01:49:06,622
And no one would be walking
past to hear any noises.

1898
01:49:06,789 --> 01:49:09,959
And out of that grew
this particular scene.

1899
01:49:10,126 --> 01:49:15,131
And this is, in fact, a set, again,
that was built at Barrandov Studios.

1900
01:49:15,298 --> 01:49:20,970
And together with Peter Lamont,
we worked out how to design it...

1901
01:49:21,137 --> 01:49:23,139
...and how to make
it look interesting.

1902
01:49:23,306 --> 01:49:28,644
It was obvious there wasn't
gonna be any electricity in this place.

1903
01:49:28,811 --> 01:49:33,524
So the idea of the kerosene lamp
as being the sole source of light...

1904
01:49:33,691 --> 01:49:35,068
...was the first issue.

1905
01:49:35,234 --> 01:49:38,696
The next issue was to have
skylights at both ends of the barge...

1906
01:49:38,863 --> 01:49:42,325
...so that the other lights could
be brought in to give it depth...

1907
01:49:42,492 --> 01:49:46,829
...and to give it something
else to work with.

1908
01:49:46,996 --> 01:49:49,415
And I deliberately on
these shots of Daniel here...

1909
01:49:49,582 --> 01:49:53,628
I deliberately let the filler light
fall off so that when he does...

1910
01:49:53,795 --> 01:49:56,255
When he appears
out of the darkness...

1911
01:49:56,422 --> 01:50:01,385
...there's a much more sinister thing,
that he comes out of the darkness.

1912
01:50:03,346 --> 01:50:06,516
The trickiness of the
scene, obviously, is to know...

1913
01:50:06,682 --> 01:50:10,520
...that Craig doesn't
have any clothes on.

1914
01:50:10,686 --> 01:50:13,856
But at the same time, one
doesn't want to show anything...

1915
01:50:14,023 --> 01:50:16,484
...one doesn't
particularly want to see.

1916
01:50:17,693 --> 01:50:20,988
So the staging and the
lighting was done in such...

1917
01:50:21,155 --> 01:50:24,992
...that just the single light
source on the front of him...

1918
01:50:25,159 --> 01:50:29,872
...allowed the other parts of his body
to be in blackness or in silhouette...

1919
01:50:30,039 --> 01:50:35,795
...so that it didn't become
unnecessarily prurient.

1920
01:50:35,962 --> 01:50:38,506
Artificial smoke was
added to the scene...

1921
01:50:38,673 --> 01:50:40,174
...to create those
beams of light...

1922
01:50:40,341 --> 01:50:44,929
...through the skylights
at the back of shot.

1923
01:50:47,098 --> 01:50:49,892
It's actually... If anything,
it's just a streetlight.

1924
01:50:50,059 --> 01:50:54,856
It's a light that was on the corner
of the quay when they pulled up.

1925
01:50:55,022 --> 01:50:56,982
It's a cheat. The whole
thing's a cheat, really...

1926
01:50:57,108 --> 01:51:01,070
...because it would not
look like this at all in real life.

1927
01:51:01,237 --> 01:51:03,156
But you make it
dramatic by doing this.

1928
01:51:03,322 --> 01:51:05,908
You make it much
more interesting.

1929
01:51:06,492 --> 01:51:08,452
And then photography's
about making your scenes...

1930
01:51:08,619 --> 01:51:11,414
...as interesting as you can be.

1931
01:51:11,831 --> 01:51:14,671
Otherwise you end up shooting
reality television, if you think about it.

1932
01:51:14,792 --> 01:51:16,335
If you put someone
in daylight...

1933
01:51:16,502 --> 01:51:18,546
...and point the camera at
them, you can see them...

1934
01:51:18,713 --> 01:51:21,273
...and, yes, you can see their
performance, but isn't it nicer...

1935
01:51:21,424 --> 01:51:23,984
...to add something extra to
it, to actually control the light...

1936
01:51:24,093 --> 01:51:26,596
...and control the way it looks
and the colours and everything.

1937
01:51:26,762 --> 01:51:30,391
And to help to build an
emotion and a feeling...

1938
01:51:30,558 --> 01:51:33,936
...out of all those tools.

1939
01:51:34,645 --> 01:51:38,024
And because it was quite an
emotionally tense scene to do...

1940
01:51:38,191 --> 01:51:42,945
...we tried to do it in one go, without
breaking it up into separate shots.

1941
01:51:43,112 --> 01:51:48,701
Except for these moments
where we step back from the action.

1942
01:51:48,868 --> 01:51:52,997
But certainly this... All these
closer shots, and the midshots...

1943
01:51:53,164 --> 01:51:54,207
...were all done as one...

1944
01:51:54,373 --> 01:51:56,334
...with many different
dolly moves...

1945
01:51:56,500 --> 01:51:59,295
...to keep the camera moving.

1946
01:51:59,462 --> 01:52:01,672
And all of the actors
could stay in the frame...

1947
01:52:01,923 --> 01:52:06,093
...and stay in the
emotion of the scene.

1948
01:52:06,719 --> 01:52:10,973
And both the actors, I thought,
did extremely well with this scene.

1949
01:52:11,807 --> 01:52:14,852
I don't know if they rehearsed outside
the set, but they rehearsed it on set.

1950
01:52:15,019 --> 01:52:17,271
And it was pretty obvious
where the camera was gonna go.

1951
01:52:17,438 --> 01:52:20,900
And Martin's got a lot of experience
with moving people around sets.

1952
01:52:21,067 --> 01:52:23,486
Because actors have a
tendency to walk too far.

1953
01:52:23,653 --> 01:52:27,698
So you know, he worked
out with Mads Mikkelsen...

1954
01:52:27,865 --> 01:52:29,951
...you know, where
to do his walks...

1955
01:52:30,117 --> 01:52:32,078
...where to hang his
coat, and all the rest of it.

1956
01:52:32,245 --> 01:52:35,289
And then we see that.
And then we build on that.

1957
01:52:35,456 --> 01:52:40,086
I'd put my light up and we'd
talk about positioning the camera.

1958
01:52:40,670 --> 01:52:42,171
Each of these was done as a...

1959
01:52:42,338 --> 01:52:44,090
There were three
masters done on this.

1960
01:52:44,257 --> 01:52:46,217
This two-shot master...

1961
01:52:46,384 --> 01:52:50,721
The single of Craig here,
and the single on Mikkelsen...

1962
01:52:50,888 --> 01:52:55,476
...were done all the way down the
whole scene, as complete takes...

1963
01:52:55,643 --> 01:52:58,896
...allowing the actors to use...
Get the timings, get the emotions...

1964
01:52:59,063 --> 01:53:02,149
...and everything else to work.

1965
01:53:02,525 --> 01:53:06,654
I deliberately kept Daniel
Craig's eyes in the dark here...

1966
01:53:06,821 --> 01:53:09,365
...because he was
under pressure.

1967
01:53:09,532 --> 01:53:11,452
But of course there's
still a glint in the eye...

1968
01:53:11,617 --> 01:53:15,413
...80 that you can see them
and you can see what he's saying.

1969
01:53:15,579 --> 01:53:17,498
I can't remember
how many takes...

1970
01:53:17,665 --> 01:53:21,419
...but certainly the poor actors
had to do it four or five times.

1971
01:53:21,585 --> 01:53:22,962
But it's interesting
with actors.

1972
01:53:23,129 --> 01:53:25,589
Sometimes actors prefer
not to do it too many times.

1973
01:53:25,881 --> 01:53:28,718
Other times, actors feel
they could have another go...

1974
01:53:28,884 --> 01:53:30,720
...and get something more of it.

1975
01:53:30,886 --> 01:53:34,598
Our opinion is that
we'll keep going...

1976
01:53:35,057 --> 01:53:37,977
...as long as it takes to
get as good as you can get.

1977
01:53:38,144 --> 01:53:39,784
There's no such thing
as the perfect take.

1978
01:53:39,895 --> 01:53:44,025
But you can... You know, if they
say they can do something better...

1979
01:53:44,191 --> 01:53:46,485
...why not let them
have a go and let's see.

1980
01:53:46,652 --> 01:53:49,405
And this... The last
shot of this scene...

1981
01:53:51,615 --> 01:53:55,578
...when Mikkelsen gets
the bullet. This one here.

1982
01:53:55,745 --> 01:53:57,538
It was quite tricky to
do as you can see...

1983
01:53:57,705 --> 01:54:01,167
...because it involved a
really complex focus pull...

1984
01:54:01,334 --> 01:54:05,379
...from the background to the
foreground within two seconds.

1985
01:54:06,088 --> 01:54:08,591
Anthony Waye,
executive producer.

1986
01:54:08,758 --> 01:54:12,094
Generally, Bond script is... I
wouldn't say tame to read...

1987
01:54:12,261 --> 01:54:14,347
...but they generally
come alive...

1988
01:54:14,513 --> 01:54:18,059
...when you start getting the
director on board and his ideas go in...

1989
01:54:18,225 --> 01:54:22,938
...and then the special effects
and the stunts and the visual effects.

1990
01:54:23,105 --> 01:54:25,941
And you start getting the theme
together, then slowly it comes alive.

1991
01:54:26,108 --> 01:54:29,528
This script, I don't think we
actually got the final shooting script...

1992
01:54:29,695 --> 01:54:31,405
...until December
the 20th, I think it was.

1993
01:54:31,572 --> 01:54:34,617
And we were
shooting January 27th.

1994
01:54:34,784 --> 01:54:36,410
It was quite the
exciting script to read.

1995
01:54:36,577 --> 01:54:38,858
You... It had everything
going for it. And then you got...

1996
01:54:38,954 --> 01:54:41,082
All the other elements came in.

1997
01:54:41,248 --> 01:54:44,502
It was like trying to get a row of
cherries on a one-armed bandit.

1998
01:54:44,668 --> 01:54:47,254
And we had a fantastic
cast, great locations...

1999
01:54:47,421 --> 01:54:49,090
...good script, good director.

2000
01:54:49,256 --> 01:54:52,843
All the elements were falling
in, which is very rare on a film.

2001
01:54:53,010 --> 01:54:55,471
And it was a much
tougher, grittier movie.

2002
01:54:55,638 --> 01:55:00,518
Very, very bold move for the
producers to make, with a new Bond.

2003
01:55:00,684 --> 01:55:03,062
But worked fantastically well.

2004
01:55:03,270 --> 01:55:04,313
Any ideas?

2005
01:55:06,315 --> 01:55:08,526
Hello, I'm Lindy Hemming
and I'm the costume designer...

2006
01:55:08,692 --> 01:55:10,903
...for Casino Royale.

2007
01:55:11,070 --> 01:55:14,490
When you first get given
the script, you read it.

2008
01:55:14,657 --> 01:55:18,202
And, of course, the minute you
read even the earliest script...

2009
01:55:18,369 --> 01:55:21,705
...you start to make
visual mental decisions...

2010
01:55:21,872 --> 01:55:23,791
...about what you
think you're seeing.

2011
01:55:23,958 --> 01:55:26,478
And then you obviously talk to
the director and the producers...

2012
01:55:26,627 --> 01:55:28,295
...about what they're
hoping to achieve...

2013
01:55:28,462 --> 01:55:30,005
...on any film it's the same.

2014
01:55:30,172 --> 01:55:31,298
And, of course, on Bond...

2015
01:55:31,465 --> 01:55:34,635
...by now I've got quite
used to the things they want.

2016
01:55:34,802 --> 01:55:37,179
And then you go and
visit the Art Department...

2017
01:55:37,346 --> 01:55:39,473
...and you talk
with the designer...

2018
01:55:39,640 --> 01:55:42,351
The production designer,
Peter Lamont, in this case.

2019
01:55:42,518 --> 01:55:46,647
...and you try to work out what
things, what kind of backgrounds...

2020
01:55:46,814 --> 01:55:48,190
...what kind of places...

2021
01:55:48,357 --> 01:55:52,403
...how the place the person
will be in is going to look...

2022
01:55:52,570 --> 01:55:55,281
...and you add that into
your pot of information.

2023
01:55:55,448 --> 01:55:57,700
Then if you're lucky,
they cast the actor...

2024
01:55:57,783 --> 01:55:59,034
...and in Bond's case...

2025
01:55:59,201 --> 01:56:01,996
...of course we knew that it
was Daniel Craig in this film.

2026
01:56:02,163 --> 01:56:05,833
And you start to think about how he
would look in all these circumstances.

2027
01:56:06,000 --> 01:56:07,960
That's always like the pre-work.

2028
01:56:08,127 --> 01:56:11,922
Then you break down
the script into the scenes...

2029
01:56:12,089 --> 01:56:13,632
...which people are
going to appear in.

2030
01:56:13,799 --> 01:56:15,843
And you have
to start thinking...

2031
01:56:16,010 --> 01:56:19,763
...about what colour you'll dress
the principal actor in the scene in...

2032
01:56:19,930 --> 01:56:23,601
...and what you'd like the
other people around to look like.

2033
01:56:23,767 --> 01:56:26,854
And I think with modern films,
what usually happens then...

2034
01:56:27,021 --> 01:56:30,149
...Is you start to do research
into what's fashionable...

2035
01:56:30,316 --> 01:56:32,568
...what, you know, what
designer you might think...

2036
01:56:32,735 --> 01:56:35,988
...Is producing things
you might like to use.

2037
01:56:36,155 --> 01:56:39,033
What you think, after looking
in all the fashion magazines...

2038
01:56:39,200 --> 01:56:41,410
...you might like
to design yourself.

2039
01:56:41,577 --> 01:56:44,413
And obviously your
pillaging and homaging...

2040
01:56:44,580 --> 01:56:46,874
...lots of things that
you see at the time.

2041
01:56:47,041 --> 01:56:50,127
Sometimes you have only the
option of making things yourself...

2042
01:56:50,294 --> 01:56:53,839
...and designing them yourself
because you need so many of them...

2043
01:56:54,006 --> 01:56:56,166
...because of a particular
stunt that there's no way...

2044
01:56:56,300 --> 01:56:57,860
...you're going to
be able to buy them.

2045
01:56:58,010 --> 01:57:00,971
But some other times, as in
Casino Royale, a couple of things...

2046
01:57:01,138 --> 01:57:05,100
The designers like Roberto
Cavalli and Versace...

2047
01:57:05,267 --> 01:57:08,270
...were so keen to work
with us... And Armani as well.

2048
01:57:08,437 --> 01:57:11,315
...that they let us
come to their ateliers...

2049
01:57:11,482 --> 01:57:14,443
...and have things
made with our own take...

2050
01:57:14,610 --> 01:57:20,282
...on something that they'd produced
in that season's fashion's catwalk.

2051
01:57:20,449 --> 01:57:23,327
And that's a fantastic thing to
do because that's really exciting...

2052
01:57:23,494 --> 01:57:25,746
...as well as, you know,
you're getting your own input...

2053
01:57:25,913 --> 01:57:29,124
...but you're also seeing how
these great fashion houses work...

2054
01:57:29,291 --> 01:57:31,377
...and how they're able
to adapt themselves...

2055
01:57:31,544 --> 01:57:34,797
...If they really want to, to
doing something for you.

2056
01:57:34,964 --> 01:57:38,676
From then, you start
to amass clothes.

2057
01:57:38,842 --> 01:57:42,888
You have assistants and shoppers
and you try to run the whole thing...

2058
01:57:43,055 --> 01:57:47,560
...it's huge and rambling,
and you start to pull in clothes.

2059
01:57:47,726 --> 01:57:50,521
And you have a big room, which
is called the Principals Room...

2060
01:57:50,688 --> 01:57:52,773
...with empty rails
at the beginning.

2061
01:57:52,940 --> 01:57:54,441
And slowly, as
you make choices...

2062
01:57:54,608 --> 01:57:57,278
...and selections and you have
things that maybe you can't get...

2063
01:57:57,444 --> 01:58:00,239
...but this is the next best
thing, you fill up your room...

2064
01:58:00,489 --> 01:58:03,158
...with the choices that
you have for each character.

2065
01:58:03,325 --> 01:58:06,203
And all the time you're checking
on which scene they're for...

2066
01:58:06,370 --> 01:58:08,080
You label them
out into the scenes.

2067
01:58:08,163 --> 01:58:11,166
...so that you can make sure
that if... As much as you can...

2068
01:58:11,333 --> 01:58:14,253
...people aren't wearing the
same colour or the same pattern...

2069
01:58:14,420 --> 01:58:18,549
...or a pattern which jars with
another pattern, unless you want it to.

2070
01:58:18,716 --> 01:58:21,135
And you're just building up
the picture of the whole film.

2071
01:58:21,343 --> 01:58:24,930
And it's a slow process and it
goes on right from the beginning...

2072
01:58:25,097 --> 01:58:27,683
...all the way through the
film. Because in these days...

2073
01:58:27,850 --> 01:58:30,686
...people only cast the
actors a very short time...

2074
01:58:30,853 --> 01:58:34,523
...before they're gonna be used,
So you have to be looking at it...

2075
01:58:34,690 --> 01:58:36,358
...first of all, in
the long term...

2076
01:58:36,525 --> 01:58:39,862
...and in your aspirational
way of what it'll look like.

2077
01:58:40,029 --> 01:58:42,072
And then secondly
you have to look at it...

2078
01:58:42,239 --> 01:58:44,658
...ON an everyday,
every decision basis.

2079
01:58:44,825 --> 01:58:46,744
And maybe you have
to change things...

2080
01:58:46,910 --> 01:58:50,331
...according to someone
new who's arrived.

2081
01:58:50,497 --> 01:58:52,499
You've got to be
on it all the time.

2082
01:58:52,666 --> 01:58:55,044
And that's sort of what the
costume designer's job is.

2083
01:58:55,210 --> 01:58:56,879
As the show goes along...

2084
01:58:57,046 --> 01:59:01,258
...that's the thing you really
have to make sure you focus on.

2085
01:59:01,425 --> 01:59:03,010
...was your smile...

2086
01:59:03,177 --> 01:59:04,219
This is Phil Méheux.

2087
01:59:04,386 --> 01:59:07,640
I'm often asked by people if it's
fun to work on a James Bond film.

2088
01:59:07,806 --> 01:59:10,601
Well, all films are hard work,
they are 12 hours a day usually...

2089
01:59:10,768 --> 01:59:13,103
...they're six days a
week more than often...

2090
01:59:13,270 --> 01:59:14,730
...and you shoot for 22 weeks.

2091
01:59:14,897 --> 01:59:17,232
It's a long time to
be concentrating...

2092
01:59:17,399 --> 01:59:21,570
...and devoted to one project,
and keep your mind on it...

2093
01:59:21,737 --> 01:59:24,457
...and keep everything in your
head as to where it should be going...

2094
01:59:24,615 --> 01:59:25,824
...and what's been happening.

2095
01:59:25,991 --> 01:59:27,910
The success of any
film is its longevity...

2096
01:59:28,077 --> 01:59:32,414
...and whether people want to
see it again, or want to see it twice...

2097
01:59:32,581 --> 01:59:35,876
...because of all that hard work
that many people put into it...

2098
01:59:36,043 --> 01:59:38,563
...one doesn't want to think
it's gonna survive for two hours...

2099
01:59:38,712 --> 01:59:39,755
...and then be forgotten.

2100
01:59:39,922 --> 01:59:42,925
One wants these
films to go on and on.

2101
01:59:43,092 --> 01:59:45,252
I suppose the interesting
thing about the Bond films...

2102
01:59:45,386 --> 01:59:48,097
...Is that they do have a
cache, they do have a fan base.

2103
01:59:48,263 --> 01:59:50,182
It always amazes me
how many people I meet...

2104
01:59:50,349 --> 01:59:52,142
...who are ardent Bond fans.

2105
01:59:52,309 --> 01:59:55,854
And of course, that adds
to the excitement of it all.

2106
01:59:56,021 --> 02:00:00,943
That these films will probably last
a lot longer than many other films.

2107
02:00:01,110 --> 02:00:02,903
As to whether I feel
shooting a Bond film...

2108
02:00:03,070 --> 02:00:05,670
...Is different from shooting
another film, it's difficult to say.

2109
02:00:05,781 --> 02:00:08,951
Every film you do, requires
the same amount of devotion...

2110
02:00:09,118 --> 02:00:10,619
...same amount of concentration.

2111
02:00:10,786 --> 02:00:14,123
I see them all as my
children, if you like.

2112
02:00:14,289 --> 02:00:16,089
When people say,
"What's your favourite film?"

2113
02:00:16,250 --> 02:00:18,170
I used to have a habit
of saying, "The next one."

2114
02:00:18,293 --> 02:00:22,131
But you do have favourites or you do
look fondly on films that you've made.

2115
02:00:22,297 --> 02:00:25,968
And certainly Casino
Royale's gonna be one of those.

2116
02:00:37,479 --> 02:00:40,566
This is Callum McDougall,
executive producer, again.

2117
02:00:40,733 --> 02:00:43,736
There's a scene were Bond
is with Vesper on a beach...

2118
02:00:43,902 --> 02:00:45,320
...and he's lying
there and says:

2119
02:00:45,487 --> 02:00:47,740
"You know, I'm gonna
sail for the rest of the life...

2120
02:00:47,906 --> 02:00:50,659
My life around the world and
you're gonna come with me."

2121
02:00:50,826 --> 02:00:53,328
So we needed a yacht and
that was absolutely fine...

2122
02:00:53,495 --> 02:00:55,455
...because we were meant
to shoot that sequence...

2123
02:00:55,581 --> 02:00:57,249
...in a place called
Portofino in Italy.

2124
02:00:57,416 --> 02:01:00,043
And we were gonna
shoot it, I think in June...

2125
02:01:00,210 --> 02:01:03,672
...and then we were going to take
it to Venice and put it into the canal.

2126
02:01:03,839 --> 02:01:07,509
Unfortunately, we then decided
actually that the beaches in Portofino...

2127
02:01:07,676 --> 02:01:10,345
...weren't as beautiful as
the beaches in the Bahamas.

2128
02:01:10,512 --> 02:01:13,474
So we decided that we would
use the boat in the Bahamas...

2129
02:01:13,640 --> 02:01:15,517
...which we now needed
to shoot in February.

2130
02:01:15,684 --> 02:01:19,229
So we were bringing this boat
forward by about four months...

2131
02:01:19,396 --> 02:01:20,606
...that was a tall order.

2132
02:01:20,773 --> 02:01:24,485
Logistically it was a tall order,
purely to get the boat there in time.

2133
02:01:24,651 --> 02:01:28,947
And we then had to get it back
from the Bahamas back to Venice.

2134
02:01:29,114 --> 02:01:32,743
I'm Anthony Waye, I was executive
producer on Casino Royale.

2135
02:01:32,910 --> 02:01:36,038
And they had to sail it
from the Bahamas down to...

2136
02:01:36,205 --> 02:01:39,541
...I think it was, the Turk
Islands, Turk and Caicos islands...

2137
02:01:39,708 --> 02:01:41,108
...to put it on the
back of a boat.

2138
02:01:41,251 --> 02:01:45,005
And they had to sail across to
Split on the coast in Croatia...

2139
02:01:45,172 --> 02:01:49,384
...and then sail from
Split to us in Venice...

2140
02:01:49,551 --> 02:01:50,844
...which is quite complicated.

2141
02:01:51,011 --> 02:01:55,390
Then it was hit... Complicated
customs problems in Split.

2142
02:01:55,557 --> 02:01:59,144
Then coming from there to
us it got held up in a storm...

2143
02:01:59,311 --> 02:02:01,063
...and we lost contact with it.

2144
02:02:01,230 --> 02:02:04,066
Eventually, of course, we
got the call at 20 past 8...

2145
02:02:04,233 --> 02:02:05,553
I was in bed on a
Sunday morning.

2146
02:02:05,692 --> 02:02:10,823
...to say the boat's 3 miles
offshore, be here by 10:00.

2147
02:02:10,989 --> 02:02:12,324
So we rounded everybody up...

2148
02:02:12,491 --> 02:02:14,618
...went and met it and
gave him a cup of tea...

2149
02:02:14,785 --> 02:02:18,622
...and we went straight and went
out and raised the helicopter...

2150
02:02:18,789 --> 02:02:21,917
...and the camera crew and we
went out and shot in the harbour.

2151
02:02:22,084 --> 02:02:25,128
Unfortunately, it was very hazy
and misty so it didn't work very well.

2152
02:02:25,295 --> 02:02:27,965
The next day we were
travelling down to Lake Como.

2153
02:02:28,131 --> 02:02:31,093
We got to Lake Como,
which is like, a 5-hour drive...

2154
02:02:31,260 --> 02:02:34,763
...to suddenly get a new
forecast that the next day...

2155
02:02:34,930 --> 02:02:38,392
...the weather in Venice was
gonna be absolutely stunning.

2156
02:02:38,559 --> 02:02:41,603
Sparkling, the wind was going to
be in the right direction for the yacht...

2157
02:02:41,770 --> 02:02:43,897
...and we all
drove back again...

2158
02:02:44,064 --> 02:02:47,109
...went straight out and
within an hour we'd shot it.

2159
02:02:47,568 --> 02:02:52,781
And our helicopter, unfortunately,
flew a little bit too low...

2160
02:02:54,616 --> 02:02:57,494
...and we were severely
reprimanded by the police.

2161
02:02:57,661 --> 02:03:01,039
But they let us off.

2162
02:03:04,543 --> 02:03:06,670
This is Callum McDougall again.

2163
02:03:06,837 --> 02:03:08,755
And then we had to
get it into the canal...

2164
02:03:08,922 --> 02:03:12,843
...for the scene of Bond and
Vesper going along the canal.

2165
02:03:13,010 --> 02:03:16,889
And that had complexities because
the canals are really shallow...

2166
02:03:17,055 --> 02:03:19,141
...and it was touch and
go whether the boat...

2167
02:03:19,308 --> 02:03:21,560
...would actually be
able to get down there.

2168
02:03:21,727 --> 02:03:23,854
And then, of course,
Venice is full of bridges...

2169
02:03:24,021 --> 02:03:26,148
...So to take the mast
off the boat took a day.

2170
02:03:26,315 --> 02:03:27,983
And there's something
about yachts...

2171
02:03:28,150 --> 02:03:30,986
...you don't want to take the
mast on and off too many times...

2172
02:03:31,153 --> 02:03:34,489
...So we ended up having to
take it off, take it into the canal...

2173
02:03:34,656 --> 02:03:38,035
...take it back out again, then we
did the shooting of it on the canal...

2174
02:03:38,201 --> 02:03:39,661
And that had its
own complications...

2175
02:03:39,828 --> 02:03:43,832
...because we had it
sailing towards a bridge.

2176
02:03:43,999 --> 02:03:47,878
And suddenly there were all these
other boats coming towards it...

2177
02:03:48,045 --> 02:03:53,300
...they'd let the traffic go on the
canal, so they had to put the boat...

2178
02:03:53,467 --> 02:03:57,763
...in a sudden reverse that
unfortunately broke its engine.

2179
02:03:57,930 --> 02:04:02,351
So it was a complex of
issues that was going on.

2180
02:04:02,517 --> 02:04:04,519
But they were unbelievably
accommodating...

2181
02:04:04,686 --> 02:04:06,897
...here we were asking
for this beautiful boat...

2182
02:04:07,064 --> 02:04:08,440
...to put down a canal in Italy.

2183
02:04:08,607 --> 02:04:13,278
And no one had ever done it before,
I think they all thought we were mad.

2184
02:04:14,780 --> 02:04:16,865
How much do we need
to float for a month?

2185
02:04:17,366 --> 02:04:18,533
I've got plenty.

2186
02:04:18,617 --> 02:04:19,743
This is Phil Méheux.

2187
02:04:19,910 --> 02:04:23,246
We're now back in
Barrandov Studios in Prague.

2188
02:04:23,413 --> 02:04:25,573
And, in fact, the interesting
thing about this scene...

2189
02:04:25,707 --> 02:04:29,878
...was it was used to test
the women actresses...

2190
02:04:30,045 --> 02:04:32,506
...for the part of Vesper.

2191
02:04:32,673 --> 02:04:35,884
And poor old Daniel Craig...

2192
02:04:36,051 --> 02:04:38,091
...said he had a bit of a
problem with this scene...

2193
02:04:38,220 --> 02:04:41,060
...because he'd played it so many
times with five different actresses...

2194
02:04:41,223 --> 02:04:43,016
...and was now having
to play it for real...

2195
02:04:43,183 --> 02:04:47,187
...and wasn't sure if you'd get
anything different or more out of it...

2196
02:04:47,354 --> 02:04:48,855
...but he came through.

2197
02:04:49,022 --> 02:04:52,484
Now, in Venice, those of
you that have been to Venice...

2198
02:04:52,651 --> 02:04:57,656
...will know that it's a very
small island and the buildings...

2199
02:04:57,823 --> 02:05:00,993
...are very much pushed together
and there's very little space.

2200
02:05:01,159 --> 02:05:04,246
So to find a room this big
in Venice IS achievable...

2201
02:05:04,413 --> 02:05:06,790
...but probably not that common.

2202
02:05:06,957 --> 02:05:10,752
And certainly, we had
problems finding a lobby...

2203
02:05:10,919 --> 02:05:13,797
...which would be big
enough to stage our end scene.

2204
02:05:13,964 --> 02:05:19,970
In fact, we've now cut to the interior
of the National Museum in Prague...

2205
02:05:20,137 --> 02:05:21,722
...which has been
used in many films.

2206
02:05:21,888 --> 02:05:24,307
And we, of course, have
added the check-in desk...

2207
02:05:24,474 --> 02:05:26,268
...and the extras
and the carpet...

2208
02:05:26,435 --> 02:05:30,772
...and all those things to make
it appear to be a hotel lobby.

2209
02:05:31,648 --> 02:05:35,318
And the reasons that the windows
behind the actors are just pure white...

2210
02:05:35,485 --> 02:05:39,114
...rather than seeing outside,
is that outside is not Venice...

2211
02:05:39,281 --> 02:05:44,453
...but, in fact, Prague high
street, so best to avoid it.

2212
02:05:45,370 --> 02:05:49,708
And so from there to a
view of Saint Mark's Square...

2213
02:05:49,875 --> 02:05:51,835
...obviously taken
in the right place...

2214
02:05:52,002 --> 02:05:55,797
...and to Daniel Craig
back in Barrandov Studio...

2215
02:05:55,964 --> 02:05:58,383
...for these interior scenes.

2216
02:06:01,470 --> 02:06:05,098
And an interesting trivia
note is coming up very shortly.

2217
02:06:05,265 --> 02:06:07,059
As he gets on the phone to M...

2218
02:06:07,225 --> 02:06:09,936
...who tells him she has a
very nice man from the treasury.

2219
02:06:10,103 --> 02:06:12,143
If you'll look closely...
Well, you don't know me...

2220
02:06:12,272 --> 02:06:15,942
...but, in fact, it is Phil Méheux,
director of photography...

2221
02:06:16,109 --> 02:06:18,653
...playing the part of
the treasury official.

2222
02:06:18,820 --> 02:06:21,448
I'm afraid that's all you see.

2223
02:06:21,907 --> 02:06:25,494
I wasn't given a featured part,
and I wasn't given a close-up.

2224
02:06:26,119 --> 02:06:28,330
So you'll be
depositing it today.

2225
02:06:28,622 --> 02:06:31,291
On my way to the bank right now.

2226
02:06:32,250 --> 02:06:35,337
Here we're back in the
National Museum at Prague.

2227
02:06:35,504 --> 02:06:39,633
As you see, it's really
quite a grand lobby...

2228
02:06:40,092 --> 02:06:42,552
...but there was nothing in
Venice remotely that size.

2229
02:06:42,719 --> 02:06:45,097
The nearest thing that looks
like it is the Danieli Hotel...

2230
02:06:45,263 --> 02:06:47,015
...which we did investigate.

2231
02:06:47,182 --> 02:06:49,810
But the parameters of
shooting in the Danieli...

2232
02:06:49,976 --> 02:06:53,688
...being a working hotel,
were so restrictive...

2233
02:06:53,855 --> 02:06:57,692
...that we didn't feel we
could make it pay as a location.

2234
02:06:57,859 --> 02:07:01,863
Nearly all the
phones in the film...

2235
02:07:02,030 --> 02:07:05,867
...had their screens added on
afterwards because it's much simpler.

2236
02:07:06,034 --> 02:07:11,081
And also it means you can
change the lettering that is on there.

2237
02:07:11,248 --> 02:07:13,917
Here we're back in
Saint Mark's Square.

2238
02:07:14,126 --> 02:07:16,294
Those of you that know
Saint Mark's Square will know...

2239
02:07:16,461 --> 02:07:18,797
...that the first shot
and the second shot...

2240
02:07:18,964 --> 02:07:20,799
...are almost in the same place.

2241
02:07:20,966 --> 02:07:24,928
So therefore he's run from
where he was to where he was.

2242
02:07:32,644 --> 02:07:36,773
And here, coming up, is an
homage to Don't Look Now...

2243
02:07:36,940 --> 02:07:38,942
...of the actress
in a red dress.

2244
02:07:39,109 --> 02:07:41,528
But also, it was
quite important that...

2245
02:07:41,695 --> 02:07:44,255
Because he was searching for
her, and we are searching for her...

2246
02:07:44,406 --> 02:07:46,533
...it was important to
make her pretty obvious.

2247
02:07:46,700 --> 02:07:49,744
And although it sounds
colossally obvious...

2248
02:07:49,911 --> 02:07:52,289
See that, she did
work quite well.

2249
02:07:52,455 --> 02:07:54,624
And Costume Department
had to make sure...

2250
02:07:54,791 --> 02:07:58,461
...that nobody else in the
scene would wear a red dress.

2251
02:07:58,628 --> 02:08:00,964
And what's interesting
about this scene...

2252
02:08:01,131 --> 02:08:03,091
...these are real people
walking up the street...

2253
02:08:03,258 --> 02:08:06,678
...not knowing the camera is sticking
out a window above their heads.

2254
02:08:06,845 --> 02:08:07,888
And the same here.

2255
02:08:08,054 --> 02:08:11,266
These are real people at
the back of the shot there.

2256
02:08:17,772 --> 02:08:21,484
There was a lot more stuff
in Venice, but it was felt...

2257
02:08:22,027 --> 02:08:23,947
...that more passages,
more and more alleyways...

2258
02:08:24,112 --> 02:08:27,532
...didn't actually add much
to the drama of the film.

2259
02:08:27,699 --> 02:08:30,452
But now this is outside
the music school in Venice.

2260
02:08:30,619 --> 02:08:31,661
And we chose this...

2261
02:08:31,828 --> 02:08:36,124
...because of the structure of the
windows, as you can see here...

2262
02:08:36,291 --> 02:08:41,880
...and also the statues that
are built inside the quadrangle.

2263
02:08:42,047 --> 02:08:45,258
Some of those statues
had been added by us...

2264
02:08:45,425 --> 02:08:47,260
...so that we could
shoot them up.

2265
02:08:52,098 --> 02:08:54,142
Obviously, one couldn't
destroy a real statue.

2266
02:08:54,309 --> 02:08:57,103
One could only
destroy a film statue.

2267
02:08:57,270 --> 02:09:00,070
You'll notice there are colours on
the bottom of each of these pillars.

2268
02:09:00,148 --> 02:09:05,445
And the reason the colours are there
is to hide the visual-effects gun hits...

2269
02:09:05,612 --> 02:09:08,031
...which will become
apparent very shortly.

2270
02:09:08,198 --> 02:09:11,701
And the issue that
Bond never blinks...

2271
02:09:12,160 --> 02:09:15,789
...Is something that Martin
Campbell came up with.

2272
02:09:16,414 --> 02:09:18,875
And it's hard, actually, when
those squibs are going off...

2273
02:09:19,042 --> 02:09:22,003
...or when you're
firing a gun, not to blink.

2274
02:09:25,048 --> 02:09:26,174
It's Chris Corbould again...

2275
02:09:26,341 --> 02:09:29,010
...special effects and
miniature-effects supervisor.

2276
02:09:29,177 --> 02:09:32,931
The sinking Venetian
house was, I guess...

2277
02:09:33,098 --> 02:09:35,350
...a sort of special-effect
swan song on this film...

2278
02:09:35,517 --> 02:09:37,352
...and kept me
awake a lot at night.

2279
02:09:37,519 --> 02:09:40,772
Being the end
sequence, it was...

2280
02:09:40,939 --> 02:09:44,234
I was worried that it was not
gonna be spectacular enough...

2281
02:09:44,401 --> 02:09:48,780
...and, you know, let the
film down, but having...

2282
02:09:48,947 --> 02:09:51,950
It was gonna be in the
script, so we had to deal with it.

2283
02:09:52,117 --> 02:09:55,912
And we spent a lot of time,
both on the interior set...

2284
02:09:56,079 --> 02:09:58,039
...which was built
in the 007 Stage...

2285
02:09:58,206 --> 02:10:00,250
...and then the
exterior model set.

2286
02:10:00,834 --> 02:10:02,961
The set was constructed...

2287
02:10:03,128 --> 02:10:07,674
...with a giant metal
scaffolding around the outside...

2288
02:10:07,841 --> 02:10:12,887
...and suspended between two
towers with rotating arms on...

2289
02:10:13,054 --> 02:10:14,931
...so that it could
tilt and it could sink.

2290
02:10:15,015 --> 02:10:19,436
At the moment, the set is
at the top of its trajectory.

2291
02:10:19,602 --> 02:10:22,564
As all the water flies in,
the set is being lowered...

2292
02:10:22,731 --> 02:10:26,526
...by a computer-controlled
mechanism into the water.

2293
02:10:26,693 --> 02:10:29,863
I had a team of guys
headed by Roy Quinn...

2294
02:10:30,363 --> 02:10:34,034
...an incredible team of guys,
who lived this, the interior set...

2295
02:10:34,200 --> 02:10:35,994
...from start to
finish in the film.

2296
02:10:38,121 --> 02:10:41,416
And the size of it was
initially a bit of a surprise...

2297
02:10:41,583 --> 02:10:46,379
...because, you know, the script
said, Oh, it was a sinking house.

2298
02:10:46,546 --> 02:10:48,106
Peter Lamont, the
production designer...

2299
02:10:48,256 --> 02:10:49,299
...called me up one day...

2300
02:10:49,466 --> 02:10:51,676
...and said, "I wanna show
you designs of the house."

2301
02:10:51,843 --> 02:10:55,305
And when I saw the size of it,
it was, like, four storeys high.

2302
02:10:55,722 --> 02:10:59,351
And he quite proudly, with
a little grin on his face said:

2303
02:10:59,517 --> 02:11:02,812
"Oh, I've based it on the
Hotel Danieli in Venice."

2304
02:11:02,979 --> 02:11:04,606
Thank you very much,
Peter, for that one.

2305
02:11:04,773 --> 02:11:09,027
But it gave us a lot of
scope. We could sink the set...

2306
02:11:09,194 --> 02:11:11,363
...and we put a special
tank, 20-foot deep.

2307
02:11:12,072 --> 02:11:14,616
We could sink it
vertically 20 feet...

2308
02:11:14,783 --> 02:11:18,161
...but also we could go
through 15 degrees in any axis.

2309
02:11:18,328 --> 02:11:21,289
And the same applied to the models,
the miniature set which we shot.

2310
02:11:21,456 --> 02:11:24,626
We had banks of compressors
outside so that we could create...

2311
02:11:24,793 --> 02:11:27,212
...the turbulence in the water
that would make you believe...

2312
02:11:27,379 --> 02:11:30,090
...that all the foundations
were crumbling underneath.

2313
02:11:30,340 --> 02:11:33,134
Fantastic. I love the set. It
became a real obsession.

2314
02:11:33,301 --> 02:11:36,096
I was dreaming about this
set every night, in the end.

2315
02:11:36,262 --> 02:11:37,639
But all credit to all the crew.

2316
02:11:37,806 --> 02:11:40,642
Gary Powell came up with
some great stunts inside.

2317
02:11:40,809 --> 02:11:44,145
And it was difficult with the
crew being out in Prague.

2318
02:11:44,312 --> 02:11:46,648
You know, a lot of
this was done ad hoc.

2319
02:11:47,232 --> 02:11:49,818
And Martin would... We'd
obviously report everything to Martin.

2320
02:11:49,984 --> 02:11:51,945
But Martin Campbell
had to come back...

2321
02:11:52,112 --> 02:11:53,988
...and literally do
all this on the hoof...

2322
02:11:54,406 --> 02:11:56,991
...put the set and the scene
together and then make it work.

2323
02:11:57,158 --> 02:11:59,494
I think it was great
spontaneity that, you know...

2324
02:11:59,661 --> 02:12:02,247
...you came up with the
end sequence as it appeared.

2325
02:12:02,414 --> 02:12:03,498
The miniature set, again...

2326
02:12:03,665 --> 02:12:07,419
...was it had its own trials
and tribulations, you know?

2327
02:12:07,585 --> 02:12:12,340
We tested every single
bit of masonry falling off.

2328
02:12:13,133 --> 02:12:14,926
I think the chimney
brushed on the side...

2329
02:12:15,093 --> 02:12:16,678
...we tested about 12 times...

2330
02:12:16,845 --> 02:12:19,055
...just to get the right
action to it breaking apart...

2331
02:12:19,222 --> 02:12:21,766
...the right amount of dust
and the right amount of loose bit.

2332
02:12:21,933 --> 02:12:24,978
Inside the house was a lift
in which Vesper was trapped.

2333
02:12:25,145 --> 02:12:28,273
Again, that had to be
rigged within this moving set.

2334
02:12:28,440 --> 02:12:29,691
We also shot all the...

2335
02:12:29,858 --> 02:12:32,485
Because we had the
ability to sink the whole set...

2336
02:12:32,652 --> 02:12:34,320
...we shot the whole
underwater sequence.

2337
02:12:34,487 --> 02:12:37,073
You know, normally that
would be a different set...

2338
02:12:37,240 --> 02:12:39,117
...built in underwater stage.

2339
02:12:39,284 --> 02:12:42,454
But because we had the ability
to sink this into 20-foot water...

2340
02:12:42,620 --> 02:12:46,124
...we shot all the underwater
sequence in that same set...

2341
02:12:46,291 --> 02:12:48,585
...in the 007 Stage,
which, you know...

2342
02:12:48,751 --> 02:12:51,045
...saved us quite a bit of
time and money doing that.

2343
02:12:51,212 --> 02:12:53,715
Towards the end
of the sequence...

2344
02:12:53,882 --> 02:12:56,342
...when we knew we
had it all in the bag...

2345
02:12:56,509 --> 02:12:59,429
...we started to do some serious
demolition work, you know...

2346
02:12:59,596 --> 02:13:04,392
...as far as blowing whole, complete
structural floors out on the interior.

2347
02:13:06,019 --> 02:13:07,854
The CGI added
various dust elements...

2348
02:13:08,021 --> 02:13:10,398
...and debris elements
to beef it up a little bit.

2349
02:13:10,857 --> 02:13:14,110
But we did start blowing,
you know, structural joists...

2350
02:13:14,736 --> 02:13:16,404
...piled up with
furniture and debris.

2351
02:13:16,571 --> 02:13:19,491
It was a very fulfilling
sequence to do...

2352
02:13:19,657 --> 02:13:23,369
...because after the fruition of months
and months and months of work...

2353
02:13:23,536 --> 02:13:27,248
...I was particularly pleased with
the team of guys that pulled it off.

2354
02:13:31,419 --> 02:13:32,962
It was a tricky
scene to light...

2355
02:13:33,129 --> 02:13:36,257
...the fact that it was
encased in this metal fabric...

2356
02:13:36,424 --> 02:13:38,927
...which allowed positioning
of light slightly tricky.

2357
02:13:39,093 --> 02:13:42,347
But what I did discover was
that the roof was basically open...

2358
02:13:42,514 --> 02:13:45,266
...and, in consultation
with the Art Department...

2359
02:13:45,433 --> 02:13:50,271
...we made four skylights
into the top of the set...

2360
02:13:50,438 --> 02:13:52,774
...80 that I could bring
light down from the top.

2361
02:13:52,941 --> 02:13:57,654
And as it sunk, I added more light,
so I had a whole rig of lights above.

2362
02:13:57,820 --> 02:14:00,657
And the lower it got, the
more lights I turned on...

2363
02:14:00,823 --> 02:14:04,202
...in order to retain the same
exposure level throughout.

2364
02:14:04,369 --> 02:14:06,621
All of the interior of
the set is fibreglass...

2365
02:14:06,788 --> 02:14:10,458
...so that it can withstand
water and a lot of handling.

2366
02:14:10,625 --> 02:14:13,545
And this whole scene took
about three weeks to shoot...

2367
02:14:13,711 --> 02:14:16,881
...with all the stunts and
the underwater footage.

2368
02:14:17,590 --> 02:14:21,970
This was quite a complex scene to
shoot, and it didn't move very fast...

2369
02:14:22,136 --> 02:14:25,557
...because of the enormous
amount of effects work and safety...

2370
02:14:25,723 --> 02:14:30,270
...that had to be taken into account
so that nobody got inadvertently hurt.

2371
02:14:30,436 --> 02:14:32,772
Now here, the
underwater sequence...

2372
02:14:32,939 --> 02:14:35,775
Part of this is still on the actual
stage where the sinking house is.

2373
02:14:35,942 --> 02:14:38,111
The house is now at the
bottom of its trajectory...

2374
02:14:38,278 --> 02:14:43,825
...and with a underwater camera
crew, these scenes were taken.

2375
02:14:43,992 --> 02:14:46,494
Obviously, lights come from
above, from the existing set.

2376
02:14:46,661 --> 02:14:48,501
And they were augmented
with brighter lights...

2377
02:14:48,663 --> 02:14:50,164
...in order to
penetrate the water...

2378
02:14:50,331 --> 02:14:52,542
...and to deal with the
peculiarities of water...

2379
02:14:52,709 --> 02:14:56,629
...which affects the way lenses
work and affects the way light travels.

2380
02:14:56,796 --> 02:14:58,172
I think that Eva Green...

2381
02:14:58,339 --> 02:15:03,219
...brought something
incredible to this scene.

2382
02:15:03,761 --> 02:15:06,472
None of us realised what she
was gonna do in that last piece.

2383
02:15:06,639 --> 02:15:10,810
And watching it on the
monitors, the television...

2384
02:15:10,977 --> 02:15:14,564
...those video-assist monitors
from the underwater camera...

2385
02:15:14,731 --> 02:15:17,817
...we were quite surprised
and quite taken aback.

2386
02:15:17,984 --> 02:15:19,027
Here we're back in...

2387
02:15:19,193 --> 02:15:22,363
They were in 007 Stage
at the back end with the...

2388
02:15:22,530 --> 02:15:24,330
The front of the house
had now been removed...

2389
02:15:24,490 --> 02:15:30,955
...to reveal the water and the
remains of the roof for this last piece.

2390
02:15:32,582 --> 02:15:34,584
In order to create the
illusion it's on location...

2391
02:15:34,751 --> 02:15:37,378
...we've added in a streak
of sunlight on the back wall...

2392
02:15:37,545 --> 02:15:42,717
...which was done after the
effect using computer imagery.

2393
02:15:44,927 --> 02:15:48,556
And it does help actually to give it
a feeling that you're in a real place...

2394
02:15:48,723 --> 02:15:51,809
...rather than indoors
in a film studio.

2395
02:15:55,396 --> 02:15:57,940
This was what surprised me.

2396
02:15:58,399 --> 02:16:00,401
I wasn't sure what Bond
was gonna do at this point.

2397
02:16:00,568 --> 02:16:03,029
Maybe he and the director had
worked out what he was gonna do.

2398
02:16:03,196 --> 02:16:05,031
But watching it
happen in front of me...

2399
02:16:05,198 --> 02:16:12,080
...I was, again, quite overwhelmed
by his performance here.

2400
02:16:12,246 --> 02:16:14,415
One of the benefits of
being a cameraman on set...

2401
02:16:14,582 --> 02:16:17,585
...Is you do get to see it
happen in front of you...

2402
02:16:18,419 --> 02:16:20,963
...which is closer
than the theatre.

2403
02:16:22,924 --> 02:16:24,050
It's Chris Corbould again...

2404
02:16:24,217 --> 02:16:27,261
...special effects and
miniature-effects supervisor.

2405
02:16:27,428 --> 02:16:29,764
We built a separate roof set...

2406
02:16:29,931 --> 02:16:34,936
...just for when Daniel and
Vesper come out onto the top...

2407
02:16:35,103 --> 02:16:39,107
...which really was just a roof set
which we could sink to certain levels.

2408
02:16:39,273 --> 02:16:42,110
But they actually, I mean,
used it stationed in the end...

2409
02:16:42,276 --> 02:16:45,988
...with a lot of water
turbulence around the outside.

2410
02:16:50,076 --> 02:16:51,577
She had a boyfriend. A French...

2411
02:16:51,744 --> 02:16:55,790
And here we're back in Venice
with the yacht that you saw previously.

2412
02:16:55,957 --> 02:16:56,999
A tricky scene to shoot...

2413
02:16:57,166 --> 02:16:58,886
...because it's quite a
long dialogue scene.

2414
02:16:59,043 --> 02:17:02,630
And rather than put
the camera on the boat...

2415
02:17:02,797 --> 02:17:04,277
...which would
have made it static...

2416
02:17:04,424 --> 02:17:06,718
...decided to put the
camera on the quay side...

2417
02:17:06,884 --> 02:17:08,720
...and let the boat
move up and down.

2418
02:17:08,886 --> 02:17:11,472
That way, you create
an emotional difference...

2419
02:17:11,639 --> 02:17:16,269
...between Bond's
location and M's office.

2420
02:17:18,980 --> 02:17:21,065
And so, again, it keeps
the audience interested...

2421
02:17:21,232 --> 02:17:23,735
...because there are two
different things to look at.

2422
02:17:23,901 --> 02:17:27,822
Now, the boat, of
course, is turned around...

2423
02:17:27,989 --> 02:17:30,158
...to favour the
backgrounds each time.

2424
02:17:30,324 --> 02:17:33,369
These are one of the tricks
that happens in filmmaking a lot.

2425
02:17:33,536 --> 02:17:35,621
It's that you're not
stuck with it in one place.

2426
02:17:35,788 --> 02:17:38,108
You can just keep turning it
until you get what you need...

2427
02:17:38,249 --> 02:17:40,001
...and what you want behind.

2428
02:17:40,168 --> 02:17:41,502
...soon as you can. We need you.

2429
02:17:42,211 --> 02:17:43,421
Will do.

2430
02:17:45,923 --> 02:17:47,363
There was a different
move for me...

2431
02:17:47,508 --> 02:17:50,845
...to make M's office look different
than you had seen it before...

2432
02:17:51,012 --> 02:17:53,723
...to take away the fluorescent-tube
light everywhere look...

2433
02:17:53,890 --> 02:17:55,683
...and give it a much
more dramatic feel.

2434
02:17:56,267 --> 02:17:59,687
...did you ever ask yourself
why you weren't killed that night?

2435
02:18:00,271 --> 02:18:02,064
Isn't it obvious?

2436
02:18:02,231 --> 02:18:06,235
She made a deal to spare your
life in exchange for the money.

2437
02:18:06,402 --> 02:18:08,613
I'm sure she hoped
they would let her live.

2438
02:18:10,156 --> 02:18:13,075
But she must have known
she was going to her death.

2439
02:18:14,243 --> 02:18:15,846
And now we'll never
know who was behind...

2440
02:18:15,870 --> 02:18:18,873
Unfortunately, the sun
wasn't very obvious that day.

2441
02:18:19,040 --> 02:18:20,708
It was a bit hazy.

2442
02:18:20,875 --> 02:18:23,628
But in order to
protect Daniel's face...

2443
02:18:23,795 --> 02:18:27,340
...because most people don't like
sunlight shining directly at them...

2444
02:18:27,507 --> 02:18:31,427
It makes them squint, and it's
also a not very attractive light.

2445
02:18:31,594 --> 02:18:37,058
I actually covered him
with a giant flag, if you like...

2446
02:18:37,225 --> 02:18:41,979
...12-by-12 black, in order to
take the direct sunlight off him.

2447
02:18:42,146 --> 02:18:46,692
And I put my own sunlight in
using an 18-kilowatt HMI light...

2448
02:18:47,276 --> 02:18:49,153
...to replicate the sun.

2449
02:18:49,320 --> 02:18:51,739
And that way, I got a more
attractive light onto his face...

2450
02:18:52,198 --> 02:18:54,033
...and was able to cope
with the difference...

2451
02:18:54,200 --> 02:18:56,828
...between him
and his background.

2452
02:19:04,710 --> 02:19:07,755
My name is Paul Haggis. Part
of the great thing about writing...

2453
02:19:07,922 --> 02:19:12,927
...or participating in
the writing of a prequel...

2454
02:19:13,094 --> 02:19:14,136
I mean, going back...

2455
02:19:14,303 --> 02:19:16,931
...and being able to say,
"Okay, this is a story you all know.

2456
02:19:17,098 --> 02:19:20,434
Everyone knows where it
goes. This is how we get there."

2457
02:19:20,601 --> 02:19:22,801
The first time around, no
one knew where it was going...

2458
02:19:22,937 --> 02:19:23,980
...and now we all know.

2459
02:19:24,146 --> 02:19:27,733
And so it's a different
way of storytelling now.

2460
02:19:42,081 --> 02:19:44,375
This is Phil Méheux.

2461
02:19:47,378 --> 02:19:48,921
Here this is in Lake Como.

2462
02:19:49,088 --> 02:19:54,010
And the thing about these
locations is it's all about the location.

2463
02:19:58,389 --> 02:19:59,682
One chooses one's setups...

2464
02:19:59,849 --> 02:20:02,143
...to actually get the
most out of the location.

2465
02:20:02,310 --> 02:20:05,229
That's why we chose
a helicopter to set it up.

2466
02:20:05,396 --> 02:20:09,817
And here, now it's all about
the drama. We know the location.

2467
02:20:09,984 --> 02:20:12,904
We don't need to show
anything wider any more.

2468
02:20:14,989 --> 02:20:20,703
And here comes the newly educated,
the newly experienced James Bond...

2469
02:20:21,370 --> 02:20:23,164
...to speak the iconic line:

2470
02:20:23,331 --> 02:20:25,249
The name's Bond.

2471
02:20:25,416 --> 02:20:27,376
James Bond.

2472
02:20:35,509 --> 02:20:37,762
David Arnold, composer.

2473
02:20:37,929 --> 02:20:40,848
Well, so when we got down to actually
recording the James Bond theme...

2474
02:20:41,015 --> 02:20:44,894
...I think the orchestra
were as hungry to play it...

2475
02:20:45,061 --> 02:20:47,438
...as I think we
were to hear it.

2476
02:20:47,605 --> 02:20:48,814
I kept it deliberately back...

2477
02:20:48,981 --> 02:20:53,319
...to the very, very last
thing that we recorded.

2478
02:20:54,153 --> 02:20:56,313
There was something about
building the tension to it...

2479
02:20:56,447 --> 02:20:57,567
...that would probably help.

2480
02:20:57,698 --> 02:21:00,743
I think if we'd have played it
at the beginning of the week...

2481
02:21:00,910 --> 02:21:03,120
...you would think that's
kind of the end of the movie.

2482
02:21:03,287 --> 02:21:05,122
Not that you need
to record a score...

2483
02:21:05,289 --> 02:21:07,291
...in the order that it
appears on the screen.

2484
02:21:07,458 --> 02:21:12,004
But I think there was something
about the energy and the urgency...

2485
02:21:12,171 --> 02:21:15,633
...and the joyfulness of the way
that that had to be performed...

2486
02:21:15,800 --> 02:21:16,842
...which was essential.

2487
02:21:17,009 --> 02:21:20,554
I think placing it, keeping it till the
end was the only way we could do it...

2488
02:21:20,721 --> 02:21:23,241
...because everyone was
completely on the edge of their seats...

2489
02:21:23,391 --> 02:21:24,892
...wanting to play it, you know?

2490
02:21:25,059 --> 02:21:28,062
Everyone kept saying, "When
are we playing the Bond theme?"

2491
02:21:28,229 --> 02:21:31,232
So we had a lot of visitors on
that... It was on a Friday afternoon...

2492
02:21:31,399 --> 02:21:35,736
...and it was the last
thing that we played.

2493
02:21:35,903 --> 02:21:39,907
And obviously, we played it
before in the previous three films...

2494
02:21:40,074 --> 02:21:45,287
...but I think this was the first time
that we'd actually played it as a piece.

2495
02:21:45,454 --> 02:21:48,124
You know, it had always been
interpolated with other things...

2496
02:21:48,290 --> 02:21:50,543
...or it had been part of a cue.

2497
02:21:50,710 --> 02:21:55,423
And there hadn't been a playing
of the James Bond theme as such.

2498
02:21:55,589 --> 02:21:56,716
So this was the first time.

2499
02:21:56,882 --> 02:21:59,362
And obviously, as far as the
character was concerned, almost...

2500
02:21:59,510 --> 02:22:01,470
...It was the first time
it's ever been heard...

2501
02:22:01,721 --> 02:22:04,306
...In a James Bond film,
you know, dramatically.

2502
02:22:04,473 --> 02:22:05,933
Again, an
intellectual conceit...

2503
02:22:06,100 --> 02:22:09,270
...but that's kind of the
way it had to be placed.

2504
02:22:10,104 --> 02:22:13,065
So everyone was really
excited about doing it.

2505
02:22:14,525 --> 02:22:17,028
And, well, I did play a
joke on Nick, my conductor.

2506
02:22:17,194 --> 02:22:19,548
I went around the orchestra.
We were doing it in the afternoon.

2507
02:22:19,572 --> 02:22:22,450
So at lunchtime, I went around
the orchestra without him knowing...

2508
02:22:22,616 --> 02:22:28,372
...and I asked them to, when
they got to the bebop section, the:

2509
02:22:28,539 --> 02:22:30,291
If they could put their
instruments down...

2510
02:22:30,458 --> 02:22:33,461
...and stand up and sing their
parts as loud as they could...

2511
02:22:33,627 --> 02:22:34,670
...without him knowing.

2512
02:22:34,837 --> 02:22:36,517
And Nick, when he's
conducting, you know...

2513
02:22:36,672 --> 02:22:40,176
Well, any conductor,
you know, is very focused.

2514
02:22:40,342 --> 02:22:42,219
It's not the sort of thing
you would expect...

2515
02:22:42,386 --> 02:22:45,186
...to have an orchestra stand up
and start shouting their parts at you.

2516
02:22:45,347 --> 02:22:49,143
But they did it, and it was really
funny. And then we did the take.

2517
02:22:49,310 --> 02:22:50,644
Then we stopped and went back.

2518
02:22:50,811 --> 02:22:52,371
We did the take.
Everyone was relaxed...

2519
02:22:52,480 --> 02:22:55,566
...and everyone was
up for it and very excited.

2520
02:22:55,733 --> 02:22:59,570
And I played guitar with it as
well, so I was very excited as well...

2521
02:22:59,737 --> 02:23:01,489
...because it's
like a treat for me.

2522
02:23:01,655 --> 02:23:03,866
You know, having spent
all that time on the film.

2523
02:23:04,033 --> 02:23:07,286
It's the, you know, one moment,
I think, as a guitar player...

2524
02:23:07,453 --> 02:23:09,872
It's one of the great things
to be able to play, I think...

2525
02:23:10,039 --> 02:23:16,003
...you know, one of the fantastic
tunes and, luckily, not difficult.

2526
02:23:16,170 --> 02:23:19,090
This is Callum McDougall,
executive producer again.

2527
02:23:19,256 --> 02:23:22,843
I think certainly when
we were making the film...

2528
02:23:23,219 --> 02:23:28,099
...we all felt that we were
making something different.

2529
02:23:28,265 --> 02:23:32,978
You know, I certainly did.
And when the film eventually...

2530
02:23:33,145 --> 02:23:35,564
We went to see a
screening of it in London.

2531
02:23:35,731 --> 02:23:37,608
I thought it was
going to be good.

2532
02:23:37,775 --> 02:23:40,277
It was even better
than my expectations...

2533
02:23:40,444 --> 02:23:41,946
...and my
expectations were high.

2534
02:23:42,113 --> 02:23:44,365
I think everyone's always
nervous when you have...

2535
02:23:44,532 --> 02:23:47,159
You know, James Bond
is such an iconic character.

2536
02:23:47,326 --> 02:23:50,287
And people are
nervous of changes.

2537
02:23:50,454 --> 02:23:54,917
And people have become familiar,
obviously with Sean Connery...

2538
02:23:55,084 --> 02:23:58,879
...had become familiar with
George Lazenby, Roger Moore...

2539
02:23:59,046 --> 02:24:00,566
...Timothy Dalton,
and Pierce Brosnan.

2540
02:24:00,673 --> 02:24:04,218
And I think people are always
concerned about change.

2541
02:24:04,385 --> 02:24:07,513
I remember, you know, people in the
industry and friends saying, you know:

2542
02:24:07,680 --> 02:24:10,724
"What's it gonna be like?" I
said, "Honestly, it is fantastic.

2543
02:24:10,891 --> 02:24:12,643
It's very, very different."”

2544
02:24:12,810 --> 02:24:17,064
And so my expectations were
high, but they were surpassed.

2545
02:24:17,231 --> 02:24:22,486
I thought it was a
fantastic end result.

2546
02:24:30,786 --> 02:24:31,787
English - UK - Commentary

2546
02:24:32,305 --> 02:25:32,322
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