Casino Royale

1 00:00:02,752 --> 00:00:05,922 Hello, I'm Barbara Broccoli. I'm with Michael Wilson. 2 00:00:06,088 --> 00:00:08,591 We produced the film Casino Royale. 3 00:00:08,758 --> 00:00:12,178 During this audio commentary, you are going to be hearing... 4 00:00:12,345 --> 00:00:15,264 ...from many of the talented technicians and craftsmen... 5 00:00:15,431 --> 00:00:18,392 ...and designers who've worked on Casino Royale. 6 00:00:18,559 --> 00:00:22,104 Film is a very collaborative medium, and in our case... 7 00:00:22,271 --> 00:00:25,024 ...the Bond films, over the years, have acquired... 8 00:00:25,191 --> 00:00:29,362 ...some of the most talented, creative giants in the motion-picture industry. 9 00:00:29,529 --> 00:00:31,322 Peter Lamont, our production designer... 10 00:00:31,489 --> 00:00:34,534 ...who began working with the Bond films on Goldfinger. 11 00:00:34,700 --> 00:00:37,078 Chris Corbould, our special-effects supervisor... 12 00:00:37,245 --> 00:00:40,039 ...who also worked on models with Steve Begg on this film... 13 00:00:40,206 --> 00:00:41,791 ...and did an extraordinary job. 14 00:00:41,958 --> 00:00:44,293 Lindy Hemming, our costume designer. 15 00:00:44,460 --> 00:00:46,546 Phil Méheux, our cinematographer... 16 00:00:46,712 --> 00:00:48,798 ...whose first film with us was GoldenEye. 17 00:00:48,965 --> 00:00:52,969 Debbie McWilliams, who's been a key member of our team... 18 00:00:53,135 --> 00:00:55,805 ...casting the film since For Your Eyes Only. 19 00:00:55,972 --> 00:01:00,226 Stuart Baird, legendary editor, who cut Casino Royale... 20 00:01:00,393 --> 00:01:02,144 ...and many others. 21 00:01:02,311 --> 00:01:05,481 We're gonna start with Phil Méheux. 22 00:01:07,149 --> 00:01:10,778 Now, the film opens in black and white, as you will notice. 23 00:01:10,945 --> 00:01:14,824 And the idea here was to give a feeling... 24 00:01:14,991 --> 00:01:18,202 ...of those spy movies that came out after the Second World War. 25 00:01:18,369 --> 00:01:21,205 Third Man, Spy That Came in from the Cold... 26 00:01:21,372 --> 00:01:22,832 ...and all those sort of things. 27 00:01:22,999 --> 00:01:25,001 That, you know, brought about the black and white. 28 00:01:25,167 --> 00:01:27,837 And also to show... Give it a sort of period feel, I suppose. 29 00:01:28,004 --> 00:01:30,506 This is in a slightly different period. 30 00:01:30,673 --> 00:01:33,676 It was also in wide-screen. 31 00:01:33,843 --> 00:01:36,512 And we used as a reference sort of The Ipcress File... 32 00:01:36,679 --> 00:01:39,307 ...which was a film that both Martin Campbell and I liked. 33 00:01:39,473 --> 00:01:42,018 It was also shot in a process called Techniscope... 34 00:01:42,184 --> 00:01:45,938 ...which was a wide-screen process, which only used half the film negative. 35 00:01:46,105 --> 00:01:48,608 And Techniscope was a Technicolor invention... 36 00:01:48,774 --> 00:01:53,613 ...where this 2.40:1 frame was expanded and squeezed down... 37 00:01:53,779 --> 00:01:56,073 ...to make a standard 35 mm at CinemaScope print... 38 00:01:56,240 --> 00:01:58,784 ...which effectively gave you more depth of field... 39 00:01:58,951 --> 00:02:01,287 ...than the standard CinemaScope did. 40 00:02:02,747 --> 00:02:03,914 And it allowed you... 41 00:02:04,081 --> 00:02:06,542 ...to do these raunchy compositions, as you can see here. 42 00:02:06,917 --> 00:02:09,357 Where everything wasn't squadgy because it was out of focus... 43 00:02:09,503 --> 00:02:11,023 ...but that had some definition to it. 44 00:02:11,172 --> 00:02:13,466 Black and white is a very interesting medium. 45 00:02:13,633 --> 00:02:15,176 It's a photographer's medium... 46 00:02:15,343 --> 00:02:17,063 ...because you really have to concentrate... 47 00:02:17,219 --> 00:02:19,055 ...on the tonal values of everything. 48 00:02:19,221 --> 00:02:22,808 It's not just a question of just lighting it the same and shooting it the same. 49 00:02:22,975 --> 00:02:27,063 It reacts differently to light and it reacts differently to colour. 50 00:02:27,229 --> 00:02:30,816 Now, obviously, certain colours record well, certain other colours don't. 51 00:02:30,983 --> 00:02:32,443 It's a much more contrasty stock. 52 00:02:32,610 --> 00:02:34,153 And I wanted to shoot it this way... 53 00:02:34,320 --> 00:02:36,739 ...rather than use colour film and take the colour out... 54 00:02:36,906 --> 00:02:39,033 ...which is what a lot of them have done recently. 55 00:02:39,200 --> 00:02:41,744 Because I wanted a true black and white look. 56 00:02:41,911 --> 00:02:45,247 Nearly all the Bond films start off with the gun barrel across the screen... 57 00:02:45,414 --> 00:02:49,251 ...and the blood, and then the gun barrel wavers... 58 00:02:49,418 --> 00:02:51,087 ...and it actually zooms out... 59 00:02:51,253 --> 00:02:53,422 ...to reveal the first scene of the pre-title sequence. 60 00:02:53,589 --> 00:02:56,050 This one is different because he's not a double-0 yet. 61 00:02:56,217 --> 00:02:57,937 It waits until this scene comes to an end... 62 00:02:58,094 --> 00:03:01,013 ...and it was a question of how we bring in the gun barrel... 63 00:03:01,180 --> 00:03:02,723 ...because it's such an iconic image. 64 00:03:02,890 --> 00:03:04,600 How we bring it in to the sequence... 65 00:03:04,767 --> 00:03:09,647 ...and retain that iconic image without using the previous version of it. 66 00:03:10,564 --> 00:03:13,004 By using it at the end of the sequence instead of the front... 67 00:03:13,109 --> 00:03:15,194 ...brought about a certain change of attack. 68 00:03:15,361 --> 00:03:17,241 We rehearsed it quite a bit with Daniel Craig... 69 00:03:17,405 --> 00:03:19,115 ...to get the feeling and the mood of it... 70 00:03:19,281 --> 00:03:22,243 ...So it retained some of the characteristics of the earlier ones. 71 00:03:22,410 --> 00:03:25,121 Although, in fact, he walks on from the side of frame... 72 00:03:25,287 --> 00:03:26,414 ...and just turns and fires. 73 00:03:26,580 --> 00:03:29,750 This is the first one where he's been back to camera completely... 74 00:03:29,917 --> 00:03:31,419 ...and rotated 180 degrees. 75 00:03:31,585 --> 00:03:34,305 So there were quite a few rehearsals to get the timing of it right... 76 00:03:34,463 --> 00:03:37,800 ...and getting to pull out the gun right, and get all those to actually match in... 77 00:03:37,967 --> 00:03:41,512 ...So that the gun barrel could be then positioned over the top. 78 00:03:43,000 --> 00:03:49,074 Watch Online Movies and Series for FREE www.osdb.link/lm 79 00:03:52,982 --> 00:03:55,234 My name is David Arnold, the composer. 80 00:03:55,401 --> 00:03:58,821 It's a bit of a conundrum, the song title and the film title... 81 00:03:58,988 --> 00:04:00,708 ...because there is a certain expectation... 82 00:04:00,865 --> 00:04:03,993 ...that the film title will be contained in the song... 83 00:04:04,160 --> 00:04:07,329 ...using the song title perhaps. 84 00:04:07,496 --> 00:04:09,736 When you have something like "The World Is Not Enough"... 85 00:04:09,874 --> 00:04:12,710 ...that's quite easy to do. 86 00:04:12,877 --> 00:04:14,462 I guess, like, Octopussy, you know... 87 00:04:14,628 --> 00:04:18,257 ...Casino Royale is a very specific kind of word. 88 00:04:18,424 --> 00:04:23,012 And it felt to me that this song needed to be about James Bond... 89 00:04:23,179 --> 00:04:25,973 ...because in the same way that this film was, I think... 90 00:04:26,140 --> 00:04:29,226 ...the first time in a very long time it's been about James Bond. 91 00:04:29,393 --> 00:04:31,395 You know, it's not been about the Uber-villain... 92 00:04:31,562 --> 00:04:35,316 ...you know, because the villainy in Casino Royale, it's quite diffuse. 93 00:04:35,483 --> 00:04:37,193 It's not just about one person. 94 00:04:37,359 --> 00:04:38,944 You realise it when you go through it. 95 00:04:39,111 --> 00:04:44,325 You know, there is kind of this quiet labyrinthine trail... 96 00:04:44,492 --> 00:04:46,952 ...which doesn't even stop at the end of the film. 97 00:04:47,119 --> 00:04:49,622 So the idea of there being a Mr Big, you know, we don't know... 98 00:04:49,789 --> 00:04:53,250 ...anything about that in Casino Royale. 99 00:04:53,417 --> 00:04:58,380 And so there really wasn't a kind of, you know, specific, you know... 100 00:04:58,547 --> 00:05:03,135 Le Chiffre turns up at a certain point in the film... 101 00:05:03,302 --> 00:05:05,971 ...and, you know, he disappears the last third of the film. 102 00:05:06,138 --> 00:05:11,143 He's not in it at all. And so it couldn't be about him. 103 00:05:11,310 --> 00:05:14,605 You know, it couldn't be about his love affair with Vesper in a way... 104 00:05:14,772 --> 00:05:17,066 ...because the film was, I think, much more... 105 00:05:17,233 --> 00:05:20,152 About much more than just that. 106 00:05:20,319 --> 00:05:24,156 You know, you kind of learn about his relationships with women... 107 00:05:24,323 --> 00:05:25,908 ...from Solange onwards. 108 00:05:26,075 --> 00:05:28,410 And that informs our understanding about, you know... 109 00:05:28,577 --> 00:05:31,872 ...how he treats and relates to women anyway. 110 00:05:32,039 --> 00:05:36,210 And it just felt like, overall, it felt like it was a film that was more... 111 00:05:36,377 --> 00:05:39,046 ...about James Bond than we've had for a very, very long time. 112 00:05:39,213 --> 00:05:41,882 And so it felt like the song should be about him. 113 00:05:42,049 --> 00:05:44,510 And I think if it was about Casino Royale... 114 00:05:44,677 --> 00:05:47,930 ...or called "Casino Royale," or you sing about Casino Royale... 115 00:05:48,097 --> 00:05:51,350 ...then you think about Casino Royale, you know? 116 00:05:51,517 --> 00:05:52,560 I thought, if anything... 117 00:05:52,726 --> 00:05:55,479 ...that film was the least about Casino Royale than anything. 118 00:05:55,646 --> 00:05:57,406 I mean, it was a great title for the movie... 119 00:05:57,565 --> 00:06:01,068 ...but I don't think it's a... It's not a good word to sing either. 120 00:06:01,235 --> 00:06:06,407 And, again, you know, difficult for anything to rhyme with. 121 00:06:07,032 --> 00:06:10,619 And the casino's only in it for the middle third, you know? 122 00:06:10,786 --> 00:06:12,538 There's nothing about it in the beginning... 123 00:06:12,705 --> 00:06:14,290 ...there's nothing about it at the end. 124 00:06:14,456 --> 00:06:16,667 So it just felt like it was the right time... 125 00:06:16,834 --> 00:06:19,086 ...to do something which was a bit more... 126 00:06:19,253 --> 00:06:21,422 And you know, the phrase "You know my name"... 127 00:06:21,589 --> 00:06:24,049 ...one of the couple of lines I came up with in the song... 128 00:06:24,216 --> 00:06:27,595 ...Chris wrote the lyric, and I needed a few lines... 129 00:06:27,761 --> 00:06:31,265 ...but the idea of calling it "You Know My Name"... 130 00:06:31,432 --> 00:06:33,893 ...was because it was very kind of cocky, you know? 131 00:06:34,059 --> 00:06:36,219 It's like when people ask you, you know, "Who are you?" 132 00:06:36,353 --> 00:06:37,813 You say, "You know already." 133 00:06:37,980 --> 00:06:39,815 So it was already kind of confrontational... 134 00:06:39,982 --> 00:06:42,318 ...and it felt like it's a sort of thing that, you know... 135 00:06:42,484 --> 00:06:45,446 ...Daniel's James Bond could say. 136 00:06:45,613 --> 00:06:48,282 And that's the main reason for doing it. 137 00:06:58,208 --> 00:06:59,668 Hi, this is Callum McDougall. 138 00:06:59,835 --> 00:07:02,963 I'm the executive producer on Casino Royale. 139 00:07:03,130 --> 00:07:05,925 The Ugandan camp, that was an interesting location... 140 00:07:06,091 --> 00:07:07,491 ...because we wanted to shoot it... 141 00:07:07,635 --> 00:07:12,640 Ideally, it would've made a lot of sense to have shot it in the Czech Republic... 142 00:07:13,724 --> 00:07:17,144 ...because we weren't gonna go to Uganda to shoot it. 143 00:07:17,311 --> 00:07:22,524 Unfortunately, we couldn't find the amount of black extras... 144 00:07:22,691 --> 00:07:25,361 ...that we needed... Children. ...in the Czech Republic... 145 00:07:25,527 --> 00:07:27,905 ...and certainly in Prague. 146 00:07:29,573 --> 00:07:32,576 And we were kind of stumped where to shoot the sequence. 147 00:07:32,743 --> 00:07:36,121 And Peter Lamont came up with an idea... 148 00:07:36,288 --> 00:07:38,207 ...that we could shoot it in England. 149 00:07:38,374 --> 00:07:41,919 And we actually shot it in Black Park, which is... 150 00:07:42,086 --> 00:07:44,672 It's an extension, really, of Pinewood Studios. 151 00:07:44,838 --> 00:07:46,632 It's like the backlot to Pinewood Studios. 152 00:07:46,799 --> 00:07:49,510 We've used it on various James Bond fiims. 153 00:07:49,677 --> 00:07:53,180 It was used on Die Another Day for when the Russian helicopter lands. 154 00:07:53,347 --> 00:07:57,977 And Peter said, "I think we can shoot it in Black Park." 155 00:07:58,143 --> 00:07:59,478 And he showed us this location... 156 00:07:59,645 --> 00:08:03,232 ...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 00:08:06,360 --> 00:08:07,403 "Uganda?" 159 00:08:07,569 --> 00:08:11,657 But it... Peter said, "Don't worry, Martin, it will look like Uganda." 160 00:08:11,824 --> 00:08:16,829 And sure enough, he did an amazing job, Peter Lamont. 161 00:08:16,996 --> 00:08:20,582 And a lot of it... He brought in this red earth... 162 00:08:20,749 --> 00:08:23,919 ...which he got permission from the local council... 163 00:08:24,086 --> 00:08:28,632 ...that it wasn't going to interfere with the ecosystem of the park. 164 00:08:28,799 --> 00:08:34,596 And he put down all this kind of red dirt, built these shacks. 165 00:08:34,763 --> 00:08:39,685 We brought a helicopter in, we dressed it with extras... 166 00:08:39,852 --> 00:08:41,478 ...and it looks like Uganda. 167 00:08:41,645 --> 00:08:43,939 And I think what helps it also is the rain. 168 00:08:44,106 --> 00:08:47,109 But it really... I think if you said to anyone, again... 169 00:08:47,276 --> 00:08:49,611 ...you know, that you shot that in Black Park in England... 170 00:08:49,695 --> 00:08:51,864 ...they'd be pretty surprised. 171 00:08:52,031 --> 00:08:54,116 Hello, I'm Peter Lamont... 172 00:08:54,283 --> 00:08:57,119 ...production designer on Casino Royale. 173 00:08:57,286 --> 00:09:00,122 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 Watch Online Movies and Series for FREE www.osdb.link/lm