Hello, I'm Barbara Broccoli. I'm with Michael Wilson.
We produced the film Casino Royale.
During this audio commentary, you are going to be hearing...
...from many of the talented technicians and craftsmen...
...and designers who've worked on Casino Royale.
Film is a very collaborative medium, and in our case...
...the Bond films, over the years, have acquired...
...some of the most talented, creative giants in the motion-picture industry.
Peter Lamont, our production designer...
...who began working with the Bond films on Goldfinger.
Chris Corbould, our special-effects supervisor...
...who also worked on models with Steve Begg on this film...
...and did an extraordinary job.
Lindy Hemming, our costume designer.
Phil Méheux, our cinematographer...
...whose first film with us was GoldenEye.
Debbie McWilliams, who's been a key member of our team...
...casting the film since For Your Eyes Only.
Stuart Baird, legendary editor, who cut Casino Royale...
...and many others.
We're gonna start with Phil Méheux.
Now, the film opens in black and white, as you will notice.
And the idea here was to give a feeling...
...of those spy movies that came out after the Second World War.
Third Man, Spy That Came in from the Cold...
...and all those sort of things.
That, you know, brought about the black and white.
And also to show.... Give it a sort of period feel, I suppose.
This is in a slightly different period.
It was also in wide-screen.
And we used as a reference sort of The Ipcress File...
...which was a film that both Martin Campbell and I liked.
It was also shot in a process called Techniscope...
...which was a wide-screen process, which only used half the film negative.
And Techniscope was a Technicolor invention...
...where this 2.40:1 frame was expanded and squeezed down...
...to make a standard 35 mm at CinemaScope print...
...which effectively gave you more depth of field...
...than the standard CinemaScope did.
And it allowed you...
...to do these raunchy compositions, as you can see here.
Where everything wasn't squadgy because it was out of focus...
...but that had some definition to it.
Black and white is a very interesting medium.
It's a photographer's medium...
...because you really have to concentrate...
...on the tonal values of everything.
It's not just a question of just lighting it the same and shooting it the same.
It reacts differently to light and it reacts differently to colour.
Now, obviously, certain colours record well, certain other colours don't.
It's a much more contrasty stock.
And I wanted to shoot it this way...
...rather than use colour film and take the colour out...
...which is what a lot of them have done recently.
Because I wanted a true black and white look.
Nearly all the Bond films start off with the gun barrel across the screen...
...and the blood, and then the gun barrel wavers...
...and it actually zooms out...
...to reveal the first scene of the pre-title sequence.
This one is different because he's not a double-0 yet.
It waits until this scene comes to an end...
...and it was a question of how we bring in the gun barrel...
...because it's such an iconic image.
How we bring it in to the sequence...
...and retain that iconic image without using the previous version of it.
By using it at the end of the sequence instead of the front...
...brought about a certain change of attack.
We rehearsed it quite a bit with Daniel Craig...
...to get the feeling and the mood of it...
...so it retained some of the characteristics of the earlier ones.
Although, in fact, he walks on from the side of frame...
...and just turns and fires.
This is the first one where he's been back to camera completely...
...and rotated 180 degrees.
So there were quite a few rehearsals to get the timing of it right...
...and getting to pull out the gun right, and get all those to actually match in...
...so that the gun barrel could be then positioned over the top.
My name is David Arnold, the composer.
It's a bit of a conundrum, the song title and the film title...
...because there is a certain expectation...
...that the film title will be contained in the song...
...using the song title perhaps.
When you have something like "The World Is Not Enough"...
...that's quite easy to do.
I guess, like, Octopussy, you know...
...Casino Royale is a very specific kind of word.
And it felt to me that this song needed to be about James Bond...
...because in the same way that this film was, I think...
...the first time in a very long time it's been about James Bond.
You know, it's not been about the uber-villain...
...you know, because the villainy in Casino Royale, it's quite diffuse.
It's not just about one person.
You realise it when you go through it.
You know, there is kind of this quiet labyrinthine trail...
...which doesn't even stop at the end of the film.
So the idea of there being a Mr Big, you know, we don't know...
...anything about that in Casino Royale.
And so there really wasn't a kind of, you know, specific, you know....
Le Chiffre turns up at a certain point in the film...
...and, you know, he disappears the last third of the film.
He's not in it at all. And so it couldn't be about him.
You know, it couldn't be about his love affair with Vesper in a way...
...because the film was, I think, much more....
About much more than just that.
You know, you kind of learn about his relationships with women...
...from Solange onwards.
And that informs our understanding about, you know...
...how he treats and relates to women anyway.
And it just felt like, overall, it felt like it was a film that was more...
...about James Bond than we've had for a very, very long time.
And so it felt like the song should be about him.
And I think if it was about Casino Royale...
...or called "Casino Royale," or you sing about Casino Royale...
...then you think about Casino Royale, you know?
I thought, if anything...
...that film was the least about Casino Royale than anything.
I mean, it was a great title for the movie...
...but I don't think it's a.... It's not a good word to sing either.
And, again, you know, difficult for anything to rhyme with.
And the casino's only in it for the middle third, you know?
There's nothing about it in the beginning...
...there's nothing about it at the end.
So it just felt like it was the right time...
...to do something which was a bit more....
And you know, the phrase "You know my name"...
...one of the couple of lines I came up with in the song...
...Chris wrote the lyric, and I needed a few lines...
...but the idea of calling it "You Know My Name"...
...was because it was very kind of cocky, you know?
It's like when people ask you, you know, "Who are you?"
You say, "You know already."
So it was already kind of confrontational...
...and it felt like it's a sort of thing that, you know...
...Daniel's James Bond could say.
And that's the main reason for doing it.
Hi, this is Callum McDougall.
I'm the executive producer on Casino Royale.
The Ugandan camp, that was an interesting location...
...because we wanted to shoot it--
Ideally, it would've made a lot of sense to have shot it in the Czech Republic...
...because we weren't gonna go to Uganda to shoot it.
Unfortunately, we couldn't find the amount of black extras...
...that we needed-- Children. --in the Czech Republic...
...and certainly in Prague.
And we were kind of stumped where to shoot the sequence.
And Peter Lamont came up with an idea...
...that we could shoot it in England.
And we actually shot it in Black Park, which is....
It's an extension, really, of Pinewood Studios.
It's like the backlot to Pinewood Studios.
We've used it on various James Bond films.
It was used on Die Another Day for when the Russian helicopter lands.
And Peter said, "I think we can shoot it in Black Park."
And he showed us this location...
...and I remember walking around there with Martin Campbell and Peter.
And I remember Martin kind of looking and thinking, you know:
"Uganda?"
But it-- Peter said, "Don't worry, Martin, it will look like Uganda."
And sure enough, he did an amazing job, Peter Lamont.
And a lot of it-- He brought in this red earth...
...which he got permission from the local council...
...that it wasn't going to interfere with the ecosystem of the park.
And he put down all this kind of red dirt, built these shacks.
We brought a helicopter in, we dressed it with extras...
...and it looks like Uganda.
And I think what helps it also is the rain.
But it really.... I think if you said to anyone, again...
...you know, that you shot that in Black Park in England...
...they'd be pretty surprised.
Hello, I'm Peter Lamont...
...production designer on Casino Royale.
Black Park is adjacent to Pinewood Studios.
There is actually a back gate from Pinewood Studios into Black Park.
We've been there on a number of occasions.
We did the pipelines on The World Is Not Enough.
And over further, that's where Syd Cain built the gypsy camp...
...for From Russia With Love.
That was in the backlot adjacent to Black Park.
We've been out there so many times, you just do bits and pieces out there.
You know, then we went out to Black Park to do Uganda.
You see, we went round to Living Prop.
The fellow with the bananas, and palm trees, and all that...
...he came around, made a jungle for us.
My name is Alexander Witt.
I was the second-unit director on Casino Royale.
And also the second-unit director of photography.
Here we had 500 to 1000 extras and the set was built in the Bahamas.
And it's supposed to be Madagascar.
The set was built by Peter Lamont...
...which has done most of the Bond movies.
I think he only missed one. A great designer.
This is Callum McDougall again.
The Bahamas worked out really, really well for us.
And I think Martin, once he saw the Bahamas...
...Martin Campbell, he said, "This is where I want to do it."
And he was absolutely right.
So then we thought we'd try to do as much as we could...
...in the Bahamas, and it worked really well...
...because we were able to do the Madagascar....
The whole of the construction site, all of Madagascar, we shot on Nassau.
We looked at shooting in Madagascar for real.
It was unbelievably complicated.
Even to go and scout it was complicated.
So we'd decided we'd re-create it in the Bahamas.
And I think Peter Lamont and his team did an amazing job.
I'm Robert Wade, one of the screenwriters.
And I'm Robert's writing partner, Neal Purvis.
And this was going to be originally the opening of the movie...
...before the idea of putting the two kills came in.
And the idea was to show Bond undercover, unshaven...
...in an area that--
In a kind of world that we wouldn't have seen him in before.
Like a backpacking kind of world.
He's tracking this terrorist bomb maker.
Originally, he was called Two Fingers because he only had two fingers.
We had some jokes on that front.
But they couldn't do that, so he had burn scars.
Yeah, he couldn't have the two fingers and run and jump was the problem.
We'd seen a commercial years ago...
...that had a kind of early version of free running.
A guy running around an unfinished building...
...jumping from girder to girder.
They'd used a Native American construction worker...
...who was used to skyscrapers...
...and running along those girders really high up.
And we'd already always wanted to put it in a film.
But this was particularly appropriate as a way of introducing Bond...
...as a kind of no gadgets, vigorous, unstoppable younger man, really.
Amazingly, it's the only foot chase in a Bond movie.
Apparently so.
This is Callum McDougall again.
The Bahamas we scouted.... We scouted there two or three times.
It was actually on the second time that we came across this hotel...
...that was on a Ministry of Defence site.
And funny enough, Peter Lamont had remembered it...
...from one of the many Bonds that they shot there.
Peter said, "I remember this place." And we drove down there...
...and it was the first time we'd taken Martin to the Bahamas...
...Martin Campbell, our director.
And we looked at this, this used hotel, and it was absolutely perfect.
You couldn't have asked for a more suitable location...
...as a construction site.
The only problem was it was on a Ministry of Defence site.
And the Ministry of Defence were using it.
I mean, they were using it for band rehearsals.
In fact, I think they have people living in it.
And it took a lot of negotiations to let us go in there.
This is Alexander Witt again.
We tried to do most of these stunts for real...
...because we realised that a lot of these new films...
...they were using too much CGI...
...and I think people are getting too sophisticated too.
They kind of know when there's CGI involved or not...
...and my idea with Martin was to do as much as for real that we could.
Talking to Martin, we decided that the jump on the crane...
...should've been done by one-- Only one jump without any cuts.
So we had to really think about how we do it...
...with him jumping from the first crane to the second crane.
And then go over, and jump down to the roof of the building.
Hi, my name is Gary Powell. I'm the stunt coordinator on Casino Royale.
Everything you see is real.
There's absolutely no CGI there other than a bit of wire removal.
The guy doing-- Sébastien doing the double jump...
...he's got a cable on him, but the cable's not actually jumping him.
The guy physically does the jump.
All it does is it decelerates him the last couple of foot...
...at the bottom of each jump.
But he physically does the jump. As the same who--
The guy who does the James Bond jump.
Exactly the same again.
He jumps, there's no--
The cable's there, but it doesn't fly him.
He's physically doing the jump.
We had little-- Safety platforms there with rubber matting on it...
...because the actual crane-landing platform was, like, a foot wide.
And because the height for the crane-- One's 140 foot and one was 120 foot.
Technically, you're not actually allowed to lop these cranes off...
...because they're supposed to free-move in the wind.
We did have cables on them...
...but we had to be there with cutters so if the wind got up, we had to cut it.
But even still, when they was up that far...
...the two cranes were sort of moving in five to six feet.
So the jump could be 15 foot, 20 foot, back into 15, or something like that.
So even when they was jumping, they still had to gauge where.
So we did put a little slightly bigger platform there for him to land on.
My name's Robert Wade, I'm a screenwriter.
Basically, what you're looking for as a writer of an action sequence...
...is something that-- There's an element of narrative to it...
...that you can have this developing story...
...that shows an aspect of the character.
The best beat in it all, I think, is when the terrorist jumps through...
...the top of the door and Bond just charges through the wall.
I thought that was great...
...because that just tells you everything about this guy.
And I don't think that would have been another Bond...
...I think it's this Bond who does that.
And he just never gives up, he gets bruised--
He really suffers in this chase.
And I guess that's very different ultimately from, you know...
...the character beat that was given to Pierce Brosnan in GoldenEye...
...which was to smash through a wall and then straighten his tie...
...that worked for him.
This is a guy who gets roughed up and just keeps going.
So it tells you a lot about that it's different...
...and the energy of the character keeps you going.
Hi, my name's Gary Powell.
He really does put a lot of work into it, Daniel Craig.
He'd done a lot of training beforehand, he was with us every single day...
...and because he was busy on a previous job...
...he'd come to us quite late.
And he basically had a crash course in parkour and fighting...
...because, literally, in the first month of filming we had...
...a big fight scene to do and then straight into the parkour sequence.
So he really had to, sort of, dig deep and put in some hours.
So he was with us for a few hours a day...
...then he'd go off and do the script side of things.
Then he'd go off and do his training side of things.
So he did put in a lot of work and it paid off for him.
But it's quite funny, you know, because everyone wants...
...to get the film started sort of thing, but we all thought...
...we was gonna start off with a nice bit of, sort of, acting.
And it's like, no, we're gonna start off with a bang.
We're going straight into the fight and all that. All the pressure's on.
But it was probably the best thing to do...
...because everyone got to know each other very quickly on the first day...
...and it sort of set the tempo for the rest of the film...
...and it certainly never calmed down from there.
Now, I am Chris Corbould, a special-effects supervisor...
...and miniature-effects supervisor on Casino Royale.
We had to really get a lot of bullet hits along the balcony...
...as Daniel runs through and Daniel was very specific...
...that he wanted to do these, being amongst these bullet hits.
So every single bullet hit we had to rig and test...
...to make sure there was no fragmentation gonna come out...
...and hit Daniel or Sébastien.
As you can see, he's right in amongst it all...
...as he runs along this balcony now.
I believe we rigged probably something like 4 or 500 bullet hits...
...when he was going along here.
It was glass and the wood flying everywhere.
Daniel was absolutely great.
The explosion that we rigged for Dan in the courtyard...
...we had to do many, many times testing it...
...because we really wanted all this-- The guys in amongst the flames.
The added thing was that we were shooting this...
...inside a sound stage so, you know, we--
There are extra elements of safety precautions...
...that you have to be aware of when you're doing it in a stage.
And as you can see, the flames actually wrap around each of the--
Most of the guys in the shot.
This is one explosion, I thought, we got absolutely spot on, you know?
There are a lot of explosions where you look and think:
"Oh, could have got a bit bigger, could have done it a different way."
But this, to me-- I was absolutely over the moon when I saw this shot.
It was superb.
I think they had to digitally put a bit of roofing...
...on top of one of the guys because he was alight...
...and they didn't wanna show one of the guards alight...
...and the stage is still intact.
This is Neal Purvis, I'm one of the screenwriters.
Robert Wade, one of the other screenwriters.
We wrote our version of this with a building site and a crane.
It was about two pages long, wasn't it?
But, you know, we weren't obviously aware of what Sébastien could do...
...and what the stunt team can come up with.
So they just took that environment and built it up as big as they could go.
While still keeping it realistic, which is of course...
...what the key thing was to do with this film.
This is the second time we see Le Chiffre.
What's great about this villain, is he's very handsome...
...so it's not what you expect.
He plays it like a real person.
And the great thing about the villain in this film...
...is that he's not a supervillain, he's a person who's got problems.
He made a mistake and he's trying to recover from that mistake.
In the novel, he's very-- Quite freakish.
We wanted to have a subtle freakishness...
...which is this weeping blood, which is an idea...
...that seemed liked a Fleming thing to us.
Weeping blood comes merely from a derangement of the tear duct...
...my dear general.
Nothing sinister.
That word, "derangement" we got from....
There was a Patrick McGoohan film called Scanners...
...and we liked the way he used the word "derangement"...
...when he talks about the derangement of the synapses.
I think Bond villains are key to every Bond film...
...and we weren't sure that we'd cracked it.
It was a difficult one because we were downscaling the villainy...
...he's not trying to take over the world...
...which helps with the realism thing.
And we'd only really given him this one quirk...
...and what he's worried about is money.
So we were never absolutely sure that we'd put enough down there.
And I think that the actor played it very well...
...and gave it some realism.
This is Callum McDougall again.
I'm Peter Lamont.
Prague really did work very well for, you know, a multitude of locations.
That was shot on location, it wasn't even a set.
It was shot on location in Prague.
Oh, that was a library in a place called Strahov.
Now, I defy anyone who tells me that they think that...
...that wasn't shot in-- You know, on a British location.
This did have the look of House of Commons, House of Lords.
I think it came off very well. I was very pleased with it.
We all know where M's office is in the real world.
We'd never done her house before.
Other than what we did On Her Majesty's Secret Service.
We did do Bernard Lee's house...
...which was down on the river at Marlow...
...where Bond comes to meet him and they--
He is interested in lepidopterology.
And my first thoughts were possibly Georgian, something like that.
And Martin kind of suggested, "Well, why not a bit off beat?"
So I thought, well, if that's the case...
...why, I think possibly, M should live in somewhere like Canary Wharf...
...somewhere a bit-- A bit off, not what you would expect.
And the idea was that, when Bond is tapped into her computer system...
...that when she comes in, the door doesn't open...
...he hears a click and she's coming out by a private elevator.
And when she comes in, she's in a position above Bond...
...because where he is sitting--
The idea was that she's looking always down at him until she comes.
She comes down and comes and sits with him.
And, you know, I thought it came off very well.
It was nicely lit...
...and beautifully furnished and I was very pleased with it.
You've got a bloody cheek.
Sorry.
I'll shoot the camera first next time.
Or yourself.
You stormed into an embassy.
You violated the only absolutely inviolate rule...
...of international relationships.
And why? So you could kill a nobody.
We wanted to question him, not kill him.
Hello, I'm Barbara Broccoli, producer...
...along with Michael Wilson of Casino Royale.
When Cubby and Harry first got the rights to the Bond series...
...they wanted to do Casino Royale, because obviously...
...it is the first book in the series...
...and it's the one that defines the character of James Bond.
The rights to that book were not available so they decided...
...to start the film series with Dr. No.
So when Michael and I got the rights in the year 2000...
...we obviously wanted to make it...
...because it is the definitive James Bond story.
It was a difficult decision and it was a, sort of, terrifying one...
...because it meant that we were going to completely reinvent the film series.
And we started that process by sort of saying...
...let's just start from the beginning with a clean slate.
We sat down with Rob Wade and Neal Purvis...
...and we spent about a year developing the screenplay.
So Rob and Neal did the first draft...
...and at that point we had to decide who was gonna direct it.
And we had approached Martin Campbell many times...
...since GoldenEye, to come back...
...but this time he accepted it because he felt...
...that he was gonna be there at a critical time...
...when we were reinventing James Bond for the 21 st century.
He wanted to bring on Paul Haggis...
...and, you know, Paul Haggis had just done Crash...
...and, you know, a fantastic film, he was a great writer.
And so we sent him the script that Rob and Neal had written...
...which he liked very much...
...and he really got excited about being able to contribute to the movie.
Those were the first very important decisions to make.
But then, of course, the ultimate decision was:
Who was going to take on the role of James Bond?
And reinvent it, make it his own, make it different.
And, in my mind, the only person who was able to do that was Daniel Craig.
He was the only person I could think of...
...that could do what we needed to have done.
And he proved to be an exceptional choice.
I don't think there's anybody else who could have done what he's done.
And the whole world seems to agree with us.
Hi, this is Callum. I'm the executive producer on Casino Royale.
The Bahamas was fantastic.
We were filming on the island of Nassau.
And the great thing about Nassau is...
...it does have very modern buildings...
...but it also does have a lot of very glamorous locations.
Hello, I'm Lindy Hemming, and I'm the costume designer...
...for Casino Royale and the previous four Bond films.
Here we've got Daniel Craig arriving at the One&Only Club.
And he's wearing a kind of slightly uncharacteristic shirt.
But the reason he's wearing it...
...is because we have to confuse him in a minute...
...with a security guard.
So we designed a shirt for him and had it made...
...and we kind of added the epaulettes.
The-- Meeting up here is two sort of fairly cartoonish German tourists...
...who are about to go off to play golf.
And we dressed them in an homage to Pringle really.
And colourfully, which is something you can't do very much...
...in a realistic Bond film.
But they were on the screen for such a short time that we thought we could.
This is one of the first times in this film...
...that we see him looking at all tailored.
When he steps off the aeroplane...
...you see that he's already just starting his smart look.
Whereas before, he's always been really rough...
...and looking like embedded kind of in whatever was going on.
Absolutely incredible.
This shirt, you can't buy it. It was made especially for him.
And it's made of Indian cotton.
Lightweight, with a bit of a pattern to give it a bit of texture...
...when you are looking at the film.
And, of course, as you can see, we've cut the sleeves...
...so that they come to the optimum part on his arm.
And I think it looks quite sexy...
...even though it's something akin to a uniform shirt.
He's watching the security cameras...
...for a couple arriving now...
...which is Dimitrios and his wife, Solange.
And they are-- I had to dress them...
...as the sort of really kind of stereotypical new money...
...on-the-holiday-in-the-Bahamas couple.
And she wears a La Perla top...
...which is falling off her sort of bustier underneath.
And we're setting her up, Gucci trousers and high heels--
We're setting her up as, you know, to be a little bit sexy...
...a little bit naughty, I think.
And certainly with a lot of new money...
...or a lot of ill-gotten gained money.
And Dimitrios is very similar.
We made all his suits, and he's wearing a sort of silk and linen suit.
And, I'd say, not a very tasteful combination of colours.
My name's Stuart Baird, I'm the editor of Casino--
Well, I was the editor of Casino Royale.
It's very difficult to talk about editing because each decision you make...
...is purely determined by the material...
...and by the speed of the actors speaking...
...or how he used the props, or all sorts of things.
In my cutting room, I have a large screen as well...
...because we cut nowadays on these TVs.
Which means you don't get it into the theatre...
...which we used to when we had film.
You'd always be taking it to the theatre...
...and you'd see it on a big screen.
So nowadays I have a projector in the theatre...
...which projects off my machine...
...my digital machine, on to a 10-foot screen in the cutting room.
So I have a decent feel of the size of, the scale of the picture.
And it does help a great deal...
...to get the pacing right for a big screen.
Because it's very different if you're cutting for a small screen, like a TV.
Or if you're cutting on a-- For a 60-foot screen.
Hello, I'm Lindy Hemming.
We spent a lot of time just in discussion...
...at the beginning of the film, thinking about the whole beach scene.
Because, you know, it is a kind of Bond thing...
...to have pretty ladies in bikinis.
But, this time, I think we concentrated really hard.
Barbara Broccoli, the producer, and Martin Campbell, the director, and I...
...had quite a lot of conversation...
...about what Bond would look like coming out of the sea.
And I was determined, in a way, to give him the briefest possible trunks...
...and to make him look as sexy...
...and in competition directly, I think...
...with any of the Halle Berry or Ursula Andress images.
And in his La Perla swimming trunks, I think it works.
Hello, I'm Peter Lamont.
When we came to her bedroom...
...nobody's ever seen her bedroom before.
And that was very offbeat.
And I did try to talk Baird into black sheets...
...but it was going a bit too far.
There were leather walls, and, you know...
...the whole gadgetry with the side of her bed, you know?
And there were designer pieces, and things like that.
But it wants to be practical, as well as a home.
In this scene, Judi Dench--
We decided to dress her in a red satin pyjamas.
Because we thought it would actually be quite fun...
...to know what M wears in bed.
That it wouldn't be something boring or, you know, sort of serious.
That she breaks out and goes into a bit of red satin at night.
There was a lot of discussion about who was in bed with M at this point.
And we sort of varied between saying...
...that we would know who it was and we wouldn't.
And now he's become a kind of invisible man.
We don't really know much about M's partner.
In the scenes where there was gambling in the Bahamas...
...we had a good opportunity of dressing people...
...in a much more bohemian, American...
...casual way of evening dress.
Especially Daniel Craig, who didn't obviously have to wear his tuxedo.
Because that's how people dress there. They don't dress up.
They kind of put something expensive on...
...rather than something very, what we'd call traditionally eveningy.
We borrowed a lot of clothes from different designers for this sequence.
And we had this dress made by, for Solange by Jenny Packham.
She had got a dress in her collection, which was this beautiful satin...
...with a fantastic lacing at the back.
And we asked her if we could have it made...
...in this fantastic pomegranate colour.
And she pulled out all the stops, and had it made in Hong Kong...
...shipped to us in something crazy, like five dresses in three weeks.
Check or bet.
I wanted it desperately, because I thought...
...that it's the sex scene which follows with Solange and Bond...
...after the casino-- It would be a marvellous filmic thing...
...to look at the back, as she's on top of Bond.
Which I was told she would be on top of him...
...rather than him on top of her.
- Check. - Check to you, sir.
Here we see Dimitrios.
I tried to make him look like...
...a bit of a bad character, a sort of criminal...
...but expensively-dressed character.
And so knowing that the things he's wearing cost a lot of money...
...but the way he's put them together doesn't really look very elegant.
...no. Give him a chance to win his money back.
Daniel Craig, in the bohemian gambling scene...
...wears a heavy, navy-blue silk shirt, which I had made for him.
And he wears it in a sort of slightly Steve McQueen way...
...outside his trousers, and it doesn't-- It's a cropped-off shirt, so it's short...
...which he wears with the linen pants.
So obviously he, his character, Bond...
...doesn't really find going into this place very intimidating...
...and he just dresses up minimally.
Thank you.
Sir.
The reason for her-- For wanting...
...the dress to be made in the pomegranate colour...
...was her skin tone, which I looked at a lot of fabrics against her body.
And I thought that the pomegranate was particularly vivacious...
...and right for her character, and suited her.
And also because I knew that most of this scene would be shot at night.
And so, I think-- I wanted a colour...
...that would light beautifully in the darkness...
...and would contrast with the greens...
...and the sort of jungley effect of the Bahamas.
And I also kind of just really liked the colour.
I thought it was a fantastic colour.
And it's an opportunity to use colour...
...which oftentimes you can't really use a vibrant colour.
It's too much for the scene.
As soon as we'd chosen that colour...
...we had to kind of limit the colours in the room.
And make sure that all the time, wherever she sat in the room...
...she would be a focus.
So Bond would-- Apart from the fact she's really beautiful...
...Bond would automatically be able to see her in the crowd of people.
So you use other colours which subtly, you hope...
...would work with the pomegranate.
But you never get really close to that colour.
So as you'll see in the film, it lets her stand out.
Goes well with the Aston Martin as well.
Good evening, sir, and welcome back.
Welcome to my home.
I'm having a hard time seeing how this is my fault.
It's your plan. All I did was get you the man.
Originally, Le Chiffre, I think was-- We were kind of...
...a little bit, we didn't really quite know what to do with him...
...because he is a very slim, tall actor.
And his face is the main focus of who Le Chiffre is.
So we opted to dress him really expensively...
...but very, very minimally.
And most of the time, he either wears navy or cream or black.
And I think that that was a definite decision...
...so that it was always his face that was in focus.
Of course, you know, you tailor to his body shape and everything.
Keeping-- Trying to keep him nice and slim...
...and make him look as tall as possible...
...which adds to his menace.
But very modern things he had.
And most of them were designed and made for him.
Why can't nice guys be more like you?
Well, because then they'd be bad.
Yes.
But so much more interesting.
Of course, when you do Bond films, everybody wants to offer you...
...jewellery to use in the scenes.
And I think, on Solange, it's a good example:
We used jewellery by a company called Fred.
And they let us borrow it.
It was thousands of pounds worth. And at one point...
...in my hotel safe in the Bahamas...
...there was about three-quarters of a million pounds worth of jewellery...
...just locked in a box in the hotel.
And I was really nervous and worried about it all the time.
It looks really, really good on Solange, that jewellery.
It was the right choice.
Can I ask you a personal question?
Now would seem an appropriate time.
This is where I think the dress just looks fantastic.
Because it's so slinky and sexy.
Yeah.
Should I ask him about it?
Perhaps later.
Now, you can see why we used the pomegranate-coloured satin there.
Because it's giving a fantastic lighting quality.
And, for instance, if she was in a black dress or a dark dress...
...you wouldn't get the silhouetting of his body the way you do...
...and you wouldn't get that sexy drapery and lighting quality.
Yeah.
...have all night to question me.
I think satin tells you...
...that somebody's trying to be sexy anyway.
It sort of gives you a slightly underwear feeling...
...without her being in underwear.
This is Callum McDougall, executive producer, again.
So the sequence where Bond gets the phone call...
...that he's off to Miami--
The sequence of events was that we shot Bond in his hotel room...
...where he was on vacation in the One&Only Club in Nassau.
He comes out. He gets in the car.
And he drives off. And the next time you cut is actually to Miami.
We did that with a very, very small unit.
We shot it on high definition.
We had no lighting.
It was Alexander Witt, our second unit director, shot it.
He also shot plates that we could use...
...because there was scenes in the taxi...
...where you see Bond following Dimitrios.
And we shot the inside of the car, in Prague.
And the plates we shot in Miami with Alex.
And then you see Bond pull up at the Bodyworlds exhibition in Miami.
Hello, I'm Peter Lamont.
The exterior of Bodyworks was the Ministry of Transport...
...on the river in Prague.
The Bodyworlds exhibition is shot on a very, very cold winter's night.
I think a lot of people didn't think they were real bodies.
They are real bodies, you know?
And they did create a tableau for us...
...which was the three people playing poker.
The inside of the Bodyworlds exhibition...
...was done earlier in the year.
And it was even colder, in a building that had no central heating.
And, again, we had all these people walking around in there...
...kind of summer, kind of skimpy clothing.
Hello, I'm Barbara Broccoli.
The history of the Bond films have been such...
...that they've gone through cycles.
And, to Michael and I, it became very clear...
...that we were at the end of another cycle.
At the end of Die Another Day.
And, so we had a break, we had some time.
The only way forward was to go back to Casino Royale.
I mean, what my father had always said to me was:
"Whenever you're stuck, just go back to Fleming."
And that's something we, you know, I've always done.
Whenever we're in a script conference...
...or we're trying to figure out what to do...
...I start scanning in my brain: "Fleming.
What would Fleming do?
What is a Fleming way of getting out of this situation?"
And then you'll refer to it, one of the other novels.
And you'll say, "Well, in Goldfinger, this is what he did.
Now, how do we apply that to this situation?"
So in the strictest sense...
...we went back to Fleming.
We went back to the original book, the original source.
And also, I think it was the right time in the world...
...because these films have always reflected the times they've been in.
--fixed in dramatic and athletic poses...
My name is Paul Haggis. I did a rewrite on Casino Royale.
I leapt at the chance to do this.
I was in a position where I could do what I wanted.
I could write and produce and direct what I wanted.
But I never thought that anyone would offer me...
...a James Bond film to write. I just never thought it.
I got to live the fiction.
I got to live what we live sitting in the movie theatre.
I got to pretend, you know...
...that I was this guy. It's what we all do.
We sit there and we pretend, "Oh, yeah, I could get that girl.
And I could kill that guy. And I'd be smart enough to do that.
And I'd be ruthless enough to do this. And would I be? I don't know."
And that's the dream, that we sit in the dark.
And I got to do that, you know, sit and write. And, so much fun.
I started writing, or rewriting, the script in the summer of that year, in Italy.
And then continued in New York, and then back here in Los Angeles.
And then handed the script in.
It took me about 10 weeks to write a script.
I did a rewrite in that time.
And then Martin would call me from the set.
And I'd, you know, send him in little rewrites and send him adjustments.
But it was-- He was very faithful to the script.
He didn't-- They didn't change much. He cut it down a little bit.
But, no, they were lovely with me.
They really shot what I wrote, what I rewrote, what I added.
And then certainly a lot of what Purvis and Wade wrote as well.
They brought all the bones, the structure that worked so well.
So when they first approached me, Barbara and Michael and Martin...
...discussed what their idea was for the film...
...how they wanted to go back to Bond's roots...
...find a purer expression of who James Bond was.
And so that was all they really needed to go off with.
Because it pretty much states what we're gonna...
...you know, what this film is.
It's a real pure expression of Ian Fleming's concept...
...for this brute assassin.
They had the script, and then they knew the strengths of that script.
And they knew its weaknesses. And they really wanted to dig deep.
And so we, you know, have our little fights, back and forth.
Friendly fights and arguments about this or that.
And argue things out. And it was a really creative way of working.
I love that.
So you know, Barbara would steer me to certain phrases in the book.
And things M would say about Bond.
And there I go, "Oh, I get it."
Martin would do the same as Michael would.
And so, those key phrases that we pulled from the book...
...gave us hints at how to develop character.
And how to see deeper into who he was, and to see--
So open up that crack in his soul.
Because, I mean, his soul is just hardened.
But there's this-- There was a crack in it...
...and we wanted to just pry it open and look inside, and....
It's something that I'm trying to subvert.
There's a simplicity in Bond that I think we've returned to.
And I wanted to try and make that simplicity a tad more complex.
Because I thought, today, that's what we really look for.
We look for those heroes.
But we look for ourselves in those heroes.
And we know our flaws.
We know how flawed we are, whether we admit them or not.
And so we look for those flaws in our heroes.
And we don't excuse them, but we want to empathise with them.
We want to say, "Yeah, I could be that guy, you know, in a different life."
And so that's what I'm trying to make him: human.
This is Alexander Witt.
I was the second-unit director...
...and second-unit director of photography on Casino Royale.
This is our scene which takes place at the airport in Miami.
And it's a location that was shot in three different countries...
...which was Czechoslovakia and England and Florida.
I gotta go.
The beginning of this scene is all shot in Czechoslovakia.
The interiors and part of the exteriors...
...until we get out onto the tarmac with the tanker, and the chase begins.
This is a model that was shot at the studio...
...and then digitally they put in some of the people that are walking...
...and the jet coming out.
It's a very real shot, and you would never know...
...that it's a composite of CGI and model.
This part is outside the airport in Czechoslovakia, in Prague.
And once we get out into the tarmac, we had to change the whole location...
...and go to London.
The whole airport scene took us about six weeks to shoot.
And I think first unit had an extra week also on the tarmac-shooting nights.
And in total, it was like eight weeks of nights...
...that we shot every day. And one of the problems that we had...
...shooting nights was that we end up doing it in the summer...
...and the nights were very short.
So in one way that's great...
...because, during daytime, we could rehearse all the stunts.
And, at nightfall, be ready to do it and not waste time.
This is also something that's very challenging for me...
...because, especially with nights, you wanna have the same lighting...
...setups, and same lighting look, that first unit and second unit has.
So that, again, the editing becomes seamless.
This is a stunt that was done by Ben, which was Daniel's stunt double.
And from this point on...
...we are in London, at an airport outside London.
And where we did the whole chase...
...with the tanker, and then the explosion with the plane.
This was a scene that was done by real stuntmen.
And we did-- It was all for real.
And, as you can see, even for our stuntmen...
...it's a very dangerous scene to do.
The lights that we see in the background...
...was all put in CGI.
And they were plates that we shot in Miami...
...and then digitally they're put in later on.
This is part of a shot that first unit did with Daniel at the same airport.
And...
...the shot that we just saw...
...is a composite where we had to shoot with a crane.
We put the camera high, and we made one car go by...
...then the other one, and then we had Daniel jump on his own...
...without any of the cars.
And then you put them all together, on CGI...
...and it looks like he's almost being hit by the car.
Hi, this is Gary Powell. I'm the stunt coordinator on Casino Royale.
You dream up all the sort of choreography of what you wanna do...
...and, you know, Bond's on top of the tanker.
So you got to get him inside the cab for the fight now.
It's like you don't just wanna have him run down the side...
...open the door and climb in.
Because that's all a bit boring and it's been done.
You think, "How can we get him in there...
...in a fast, spectacular way?"
And for that shot I used Kai Martin.
Physically, he just runs across the top of the tanker...
...does a barani over the front and in through the front windscreens.
So it was a tight fit.
Because obviously, you know, he's sort of 5'10"...
...going through, like, a 2-foot-window sort of thing in a barani which--
It's a front somersault with a twist.
So, yeah, you have to sort of know where you are to do it...
...because obviously, you know, if he misplaces it, he's in trouble.
It's Chris Corbould again...
...special effects and miniature-effects supervisor.
We have-- Another tricky one was where the jumbo jet....
He's coming into land and the convoy tracks across in front...
...and he pulls on the throttles, pulls it up...
...and as the jumbo jet flies over the convoy...
...the jet blasts from the engines blows the police car out of the way.
And we rigged up a very big rig of cranes and cables...
...and a massive jerk rig with a cable.
And a high-pressure, jerk-rig machine, as you can see...
...jerks the police car out of the shot, away from the engines.
I think we jerked that car about 140 foot in the air...
...to get that shot.
It took us a few times to get it right...
...because the car was on the move so we had to allow...
...for the arc of the car.
This is Alexander Witt.
This is the end of the scene where the tanker...
...gets very close to the plane...
...but it's also a scene that we did for real.
That is a 747 that's in the background that was altered a little bit...
...with the CGI so that it matches...
...the model that we had at the beginning.
But in reality, it's a 747 standing in the back.
It's Chris Corbould again.
The tanker had to smash through the vehicles...
...just before it gets to the plane.
And we built a little ramp to get some air.
Rolled and it just barged the cars out of the way.
We built a small ramp so that as it hit them, it took off.
And got a bit of air underneath the wheels...
...which gave a much more spectacular look to it.
And CGI guys put a couple of guys running away from it...
...which just gave it that extra touch of reality.
This is Alexander Witt.
At the end of the chase...
...the tanker stops a couple of feet from the plane...
...which we did with cables...
...so that we know exactly where the tanker's gonna end.
Otherwise, it's possible that he might stop too early...
...or too late and if he stops too late...
...he would probably hit the plane in the back.
In the original storyboard for this sequence...
...we had the, as well as the bendy bus...
...and the baggage trolleys...
...the tanker actually went through the belly of the plane.
I thought maybe it was a 727 or something like that.
The Art Department actually sourced a time-expired 727...
...and we cut out the belly of it and made a breakaway belly...
...which we shot at Lasham.
And the tanker travels straight away through the belly...
...and you see the belly collapse out.
But I think Martin felt that it was one bridge too far...
...after going through the other two articles.
We worried about how we were gonna do...
...the guy exploding in a minute with the bomb attached to his belt.
But luckily enough they spared us that and they did it off-screen.
The puts expired. I'm sorry, I'm not sure yet how much you've lost.
One hundred and one million, two hundred and six thousand dollars.
Someone talked.
My name is Anne Bennett...
...and I'm senior vice president of marketing...
...for Eon Productions Ltd.
The toughest thing about marketing Casino Royale...
...was to make everybody appreciate...
...that this was going to be a very different film...
...from those which had been in the franchise...
...for the last 40-something years.
And that Daniel Craig's performance was going to be very different...
...in a very different type of film.
No.
- Not your name, what you were after? - No.
Dimitrios worked as a middleman.
Couple of years before Casino Royale started production...
...the distribution studio changed internationally...
...from MGM and 20th Century Fox to Sony...
...who handled it both domestically and internationally.
And that was an enormous learning curve...
...for us and for them...
...because they've never handled a James Bond film before.
...by playing poker.
We always knew that to launch this film...
...with the media in the States and around the world...
...we had to have another opportunity during production.
And we always choose a location...
...the most glamorous of which could have been...
...the Bahamas or Venice.
The Bahamas was first so we chose that.
And we brought in, with Sony's assistance of course...
...oh, a huge amount of press from around the world.
And we had a very good three-day event...
...with the media visiting the construction site...
...which appears at the beginning of the film, the embassy site...
...and two or three others.
The One&Only to see where the poker game was going to be shot.
And we did at the end of a heavy day's filming...
...for all of the actors...
...the producers, the director and our main crew...
...a big, major press event which helped us enormously...
...because by that time there were a few rumours...
...that were coming out of the British press...
...that Daniel Craig couldn't drive a shift gear in an Aston Martin...
...and those sort of nasty attacks on him.
And it totally turned round.
The newspapers from England that attended the junket...
...came back and did double-page spreads.
"Yes, of course he could drive," you know, whatever the rumour was.
...with his clients' funds?
They're not gonna be too happy when they find out it's gone.
We can't let him win this game.
If he loses, he'll have nowhere to run.
We'll give him sanctuary in return for everything he knows.
I'm putting you in the game....
It was an amazing experience, having the original book to work with...
...and having a new James Bond.
When you watch Daniel Craig acting, he is so focused and so strong...
...in his aims as to what he wants to achieve.
And by the time we came to shoot between October and January...
...he had developed into a James Bond...
...as he wanted to portray it.
Don't worry about keeping in touch.
We'll know where you are.
You can stop pretending.
You knew I wouldn't let this drop, didn't you?
Well, I knew you were you.
Thank you.
My name's Stuart Baird. I'm the editor of Casino Royale.
Just from the point of view-- I've been an editor for 35 years...
...and people think that action is the most difficult to cut.
And there is a-- You know, everyone works very hard and has a skill in it...
...but editors themselves recognise good cutting...
...from dialogue sequences.
And one often works much harder on the dialogue sequences than...
...how should I say--? Not much harder.
You work just as hard on everything to bring the best out of every scene.
But the delicate cutting that you get in a dialogue scene...
...is completely unrecognised because it isn't obvious, it's subtle.
One of the scenes I worked very hard on...
...at least, probably took me as long to cut...
...as the sequence in the airport was the scene in the train.
Where it's the cute meet, where he meets Vesper.
And that sequence is--
They're both sitting down basically...
...but in order to choose the little moments...
...the little tempo, the little nuances...
...because not always you use the reactions or whatever...
...from the same part of the scene that they actually were to look--
You know, when they were delivering it.
You're trying to grab the absolute maximum.
That's what editing is...
...is really to bring out the very best from the material...
...from wherever you can get it to make the scene live.
And sometimes we often lose dialogue...
...we may even rejuxtaposition dialogue.
We didn't in that one.
But the actual pacing of that is just as important...
...maybe more important than the-- In the action sequences.
Because you don't-- I mean, the worst crime is to bore people.
And if things outstay their welcome...
...there's an audience quite right.
You think, "What am I sitting here for?
Let's get on with it."
So I've worked very hard on that sequence.
And then in terms of the actual--
I suppose the hardest work I put into the whole editing...
...of this picture...
...the most difficult was the card games...
...the three card games.
Now, I'd have normally gone with only child...
...but, you see, by the way you ignored the quip....
My name is Paul Haggis.
My biggest challenge in the love story was showing immediately...
...why Bond would need Vesper and why Vesper would need Bond.
And even in action movies you've gotta do this brief--
Character work has to be done quickly.
So I decided I had to do it right on the train.
So it was really--
I said, "Okay, what does Bond want? Really want?"
He wants to be seen. He wants to be seen through.
Here's a man who is a spy, who is always keeping his walls up.
And what he would crave is to be seen through...
...to have somebody look right through those walls.
I said, "That's what she's gonna do. Sit down and tell him who he is."
And so that was great fun.
And then-- But first of all, I know to prompt that I had Bond...
...because Bond is really good at reading people.
He talks about how he's a good poker player...
...and how he's good at reading people and she taunts him...
...and so he reads her exactly.
And so she's thrown because here's a man who sees her.
Again, a person who is acting as a spy at that moment even though she's--
And we don't know that she is. She's being duplicitous...
...and she's seen through.
And that's what we all want to be. We all wanna be seen through.
We wanna be seen for who we really truly are.
But she can't admit that so she turns it back on him.
And throws it back at him...
...and he sympathises with the lamb at that point for being skewered.
You know, so that was great fun.
And I said, "Okay, as soon as I got that I know their relationship."
And it was really....
I was really trying to write a modern version of His Girl Friday.
In those sequences it was Rosalind Russell and Cary Grant...
...that I was hoping they would channel in a drama.
And I love the banter of those films.
And the way that the characters didn't miss a beat.
But they just saw each other so well, you know?
And they played off each other so well.
And when you have somebody like that who, A, sees through you...
...and, B, you can play with...
...I mean, how enticing is that?
So that's what I wanted for the two of them.
Apparently we're very much in love.
Do you usually leave it to porters to tell you this sort of thing?
Only when the romance has been necessarily brief.
Before I came on, Purvis and Wade and Michael and Martin and Barbara...
...had all come up with Vesper's journey.
Exactly how she'd fall into the hands...
...of the bad guys.
How she'd fallen in love...
...and how her lover had been kidnapped...
...and how she was forced to betray her country.
And then in the end....
You know, towards the end, how she falls in love with Bond...
...and is terribly torn by that and tries to do two things:
Tries to save, you know, her lover and tries to save Bond...
...by sacrificing herself.
And of course, M says at the end of the film...
...that she was probably a complete waste...
...because she's quite sure that this lover was a honey trap...
...that he was in on it from the beginning.
So love destroyed her.
And that was a great tragic character to play with.
Thank you. Enjoy your stay.
I will. Thank you.
Very funny.
Hello, I'm Debbie McWilliams.
I did the casting on Casino Royale.
Which means he's decided to play me anyway.
The role of James Bond has always had the same template.
It has to be an actor who is dashing...
...handsome, incredibly fit...
...but who has that sort of hard edge while also being charming.
And that's always really been what--
Those are the ingredients of James Bond.
He has to be-- He is a hired killer.
And despite the fact that he is also extremely charming...
...we always have to know in the back of our minds...
...that he's capable of pulling that trigger.
And not every actor can do that, as we well know.
One day, Barbara-- Well, not one day.
Almost day one when I started working on the film...
...we knew that we had to find a James Bond.
And this was about six months run-up to actual preproduction.
So that was it. That was my only task was to find a new James Bond.
And Barbara called me into her office and said:
"What do you think of Daniel Craig?"
And I said, "I think he's fantastic. Why?"
And she said, "Well, for James Bond, of course."
And I said, "Really? I haven't even thought of it."
But once she said the name, I just thought, "Well, of course."
It just makes such good sense because he is...
...for me, the actor of his generation.
He's always been so interesting, he's never been typecast.
He's chosen the things he does really, really well.
But my doubt was whether he would want to do something...
...as commercial as a James Bond film.
Because he had seemed to have deliberately avoided...
...that sort of film.
But I rang his agent who said, "Well, there's a thought.
I'll ask him."
She said, "Do you have a script?" And I said, "No, of course we don't."
"We've got a book. I can get one over to you if you like."
And she said, "Oh, well, I'll give him a ring and I'll call back."
Well, by lunchtime the next day, he'd gone out and bought the book...
...read it and was in our office having a meeting.
So I think that was where we knew that he was interested.
But then we continued the search.
We literally scoured the world. I went everywhere.
I met some very, very interesting, good talent...
...who, indeed, I'm sure will go on to do very good things.
But they just weren't the right person.
And to be honest with you, there was never really anybody else...
...certainly who the producers wanted.
They were convinced by him from the beginning.
So I can only describe it as once he had put on the mantle...
...he became the man.
One day he was just Daniel Craig...
...the next day he was Daniel Craig playing James Bond.
And he knew that that was a huge responsibility.
And for himself...
...for his audience, for the film, for everybody...
...he knew that he had to work really hard to get it right.
And it was hard work.
And there's no doubt about it. You don't just be that person.
It's a job, it's a very hard job...
...and he put everything that he had into it.
Okay, hello, I'm Lindy Hemming...
...and we're just gonna look at the sequence where Bond...
...and Vesper arrive in Montenegro...
...where the grand casino is.
And Bond hasn't really had an opportunity to wear suits...
...proper suits, very much, tailored suits.
So it's a very good moment in the story...
...where he will appear as Bond for the first time.
And there's an interesting device where he's bought her a dress...
...and she's bought-- We don't find out straight away.
But she's also bought him a tuxedo immaculately tailor-made.
Well, the thing about Bond's tuxedo and all of Bond's tailoring is that it's--
You've got to keep it classic and you've got to keep it expensive.
But also he's got to be discrete.
Because he's the kind of man who has to move in, you know...
...all kinds of circles.
He should look wonderful...
...but he shouldn't stand out as odd in any way.
So you keep away from the extremes of fashion...
...but at the same time you want him to look really beautiful.
His tuxedo in this instance...
...has got to be able to withstand a tremendous amount of action...
...and really not fall apart or decompose during it.
So I have to say that I put down the way his clothes behave...
...and how durable and enduring they are...
...in spite of being made of the lightest-weight fabrics...
...to the tailoring that goes into them.
And you must be Mr Bliss' replacement.
Welcome, Mr Beech.
Or is that Bond? I'm a little confused.
Well, we wouldn't want that, would we?
I'm Anthony Waye. I was executive producer...
...on Casino Royale.
I think we first met with producers probably April-ish of 2004.
In those times, we were planning to shoot January 2005.
And then slowly we discussed over the weeks sort of first draft.
The script was much different...
...to what we eventually shot, as always.
We were taken on, Callum McDougall, the other executive producer...
...and myself and Pete Lamont.
We sort of joined for two-week stints.
And in two weeks we would do a budget...
...and get that approved and go off and look at locations.
And we did quite a lot of that...
...between, I think it was August time 2004 and December 2004.
Our first recce we went to Czech Republic...
...to Prague and went up to Karlovy Vary first...
...which is about an hour and a half outside of Prague.
And as it so happens...
...with all the touring we did round the world...
...that's the actual location we used for Montenegro in the film.
We're looking at the casino here and a tremendous--
Well, we made a big decision about the casino table.
In conjunction with the company Brioni...
...who tailors all of James Bond's suits and have done for the past four films...
...we decided to do a complete costuming of everybody...
...at the high-gambling table.
And they tailor-made for me, to my designs, every garment...
...that everyone wears, except for Madame Wu.
And so Brioni tailored all of the clothes individually...
...for each person around the table...
...including the women's clothes for Veruschka...
...which was a real pleasure to do because she looks fantastic.
And she's about 6 foot tall.
So I would say each person here has a different fabric...
...and each person has a costume which is appropriate to who they are...
...and where they come from in a way.
The Russian has a beautiful series of silk jackets...
...one of them which has a mink collar.
Ade who plays the African dictator.
And of course, we've designed his clothes...
...in that particular safari-jacket-meets-eveningwear style.
Which a lot of those people seem to go for...
...and which Brioni made beautifully in a series of silks.
We even designed the waistcoats and had them made for the croupier.
And strangely enough, in a very expensive dress shop...
...dress-fabric shop called Joel's...
...we found this fabric which had dice and cards and everything.
So we decided to, even though it was meant for dresses...
...to make the waistcoats out of that.
The dress that he's bought for her is quite an important part of the story...
...because what's happened is he wants her...
...to appear in the casino and distract the other players.
So far from her usual, very simple elegance...
...sort of almost French way of dressing...
...we now are going to try and make her look a little bit vampy.
And I chose a sort of auberginy, purply colour...
...because it seemed to be near enough...
...to her normal code of dress but a sexy colour.
And a colour that no one else would be able to use...
...in that scene obviously.
And for the character Vesper...
...it's a moment where she enters the casino...
...and Bond, who was hoping to distract the other players...
...finds himself distracted by her and her sort of sexiness.
So it's a kind of double take for him.
He is distracted from his own game...
...where he wished the other people have been distracted from theirs.
So this really was an important dress.
Bet. Two hundred thousand.
Hello, Debbie McWilliams again.
What if I told you that the week before we were due...
...to shoot that scene, we still didn't have the dealer?
Again, it was that thing, do you have the real thing...
...or do you have an actor who can do it?
And I had met a lovely actor, again, in Paris...
...who as his audition, did a card trick for me...
...where, you know, you put all the cards out on the table and go:
And I would have thought-- I was impressed by that...
...me knowing nothing about poker dealing whatsoever.
And I went, "He'd be fantastic."
Martin doesn't know a great deal about it either.
So between us we thought we were very clever...
...casting this actor who came out for the week's rehearsal...
...and with our poker expert...
...just decided that he just was not good enough.
He's a lovely actor and we had him in the film...
...but he just hadn't got the manual dexterity...
...to get those cards round the table fast enough.
So I went on the Internet...
...I rang every casino in Europe.
And not very many of them have dealers who do Texas Hold'em.
They do have various other sorts of poker...
...but Texas Hold'em was our game.
And I tracked down about six.
And on the Saturday before we were due to start shooting on the Monday...
...we auditioned all these people who'd driven from Vienna...
...had flown in from Bratislava...
...who had arrived from who knows where.
And Daniel Andreas had the manual dexterity.
He was good-looking, he just felt very natural.
And that's exactly what we needed.
Someone who looked as if they did it all the time...
...who was not remotely flustered by doing this.
And doing it over and over and over again.
And so he was the perfect man.
But it was a very late call, I'm afraid to say.
So it was a bit of a:
But again, it worked very well. And I'm glad we did it.
And Tom, our poker man, kept saying to us:
"There's almost no film where there's a poker game where they get it right.
There's always something wrong with it."
So it was our challenge...
...to make it look absolutely as authentic as we possibly could.
And so that's why we went to such lengths over it.
And I hope that the poker-playing world out there...
...will agree that we did a pretty good job on it.
It's time for a short break. We will resume play in one hour.
This is Callum McDougall, executive producer, again.
I mean, normally on a film, the first thing you have is a script.
Casino Royale was slightly different.
I was engaged with Anthony Waye...
...who's the other executive producer very early on.
Neal Purvis and Robert Wade were still writing the script.
So we actually went back to the novel.
And with Peter Lamont, who was our production designer...
...and Andrew Noakes, who was our associate producer...
...we looked at the book, we went back to the book...
...to find the kind of inspiration for the locations.
And I think that really was our guideline initially.
Obviously, the story had been updated for the screenplay.
But the actual look of it and the relationship to--
Certainly for the casino...
...it was the first location that Peter Lamont and I ever went to.
And it, apart from not being on the coast...
...as it was in the original book, the relationship...
...between the casino and the hotel was absolutely perfect for the film.
Hello, I'm Lindy Hemming. I'm the costume designer of Casino Royale.
And we're talking about Valenka the character...
...who's one of the characters I would say in this film...
...whose clothes are sort of 85 to 90 percent product placement.
Because we really went-- We had her for a very short time.
We made quite a lot of plans about what she should wear.
And they more or less worked, the plans, because we had her...
...in a fabulous ocean blue, electric blue bathing costume...
...at the beginning of her sequences, when she swims underwater.
And then we borrowed mercilessly from every designer we could...
...to get her clothes for the rest of the film.
And I'd say that two of her best outfits...
...the striped dress with the jewelled cuffs and collar...
...which she wears on the yacht came from Cavalli.
And so did the yellow dress...
...which she wears when she's being attacked.
I'm Gary Powell, I'm the stunt coordinator on Casino Royale.
I've been brought up with James Bond films.
And they are the pinnacle of action films, you know?
If you ask any stunt man in the world what film he'd like to work on...
...it's a James Bond film.
And, you know, it's a dream come true to perform on one.
It's a second dream come true to actually coordinate one, you know?
When I actually got the job, I was like, you know, jumping around.
It was like the best feeling ever.
And, you know, it never sort of went down from there. It still is just great.
The challenge with coordinating...
...is obviously, you know, just trying to keep it fresh, you know?
We didn't reinvent the wheel on Casino Royale.
We just went back to the original Bond stuff.
And, you know, I think it's sort of gone full circle now.
For years, we've had the CGI stuff. And it's great, you know?
We can't do without it. But we've had enough of it for now.
Every time I hear someone mentions it, all they're doing is filming air.
And they wanna go back to real stunts.
That seems to be the way it's gone for now.
And, you know, lucky enough they gave us the sort of the leeway...
...and, you know, the backing to do it all for real.
Well, the stairwell fight takes place over sort of, let's say...
...four flights or four floors. That's like eight flights of stairs.
The staircase is easy.
But of course, the big thing is the battle has got to be shot.
So the whole staircase was made...
...so that we could float all the walls around it.
So in effect, the whole stairway would stand there.
And you could take away all the walls. The stairway would stand.
But every landing, therefore, had a landing all the way around it.
You could take it off so you could get the unit down there.
Second unit did quite a lot of it. Barton did quite a lot too.
Martin Campbell wanted Daniel Craig...
...to do as much as he physically could inside there.
So we sort of started blocking through things and the idea of it.
And spoke to Peter Lamont. And for us, the best way to have done it...
...was literally from top to bottom...
...the whole stairwell was rubber walled...
...all the way down. So literally you could bounce off all the walls.
And obviously, you know, it hurts if you keep on doing it.
But, you know, it made it a lot easier than hitting solid walls.
Gary Powell, our stunt coordinator...
...he wanted, you know, obviously a lot of padding.
And the stairs were upholstered in rubber, same as the walls...
...so that people didn't hurt themselves, you know?
But although Daniel is there, he did have a double. And, you know.
But the thing was to make it easy for the unit.
Because we wanted to make it messy. We didn't want it choreographed...
...where it's like you thought, "He hit that mark."
You know, if Daniel gets thrown, he gets thrown.
If he sort of bounces and ricochets off a couple of walls...
...that's exactly what we wanted.
So you really can sort of put yourself into it 100 percent.
Throw yourself down the stairs...
...and, you know, looked like it hurt. Probably did.
You know, and it just gives it that energy...
...and, you know, that sort of gritty feel to it.
This is Phil Méheux, director of photography of Casino Royale.
It's a very interesting sequence...
...in trying to create the turmoil in which he now finds himself.
And also show that he cleans himself up for what follows next.
So we decided-- We shot this with two cameras...
...on opposite sides of him, which is not normal to do that.
Because it actually throws the audience or can throw the audience.
But in this instance...
...we intentionally wanted to throw the audience's mind.
Because he's got his reflection.
You see him from both sides of the face at the same time.
And the way to do those scenes is really to have the actor...
...just keep re-shooting the same scene several times.
Just keep running the cameras.
In fact, don't make him do things specific for the camera.
Just make the cameras find what he does. And of course, inevitably...
...when he does it several times, he does it differently.
Here we are back in the Casino Royale Salon Privé.
...if everybody's ready, let's continue the game.
And now returns to his hotel room, or hotel suite, I should say.
And here, it's important to show...
...that Eva Green's character is not used to this way of life.
Of people being cut, shot, thrown down stairs and all the rest of it.
And it's extraordinarily traumatic for her.
And there's a lot of discussion over what she might wear in this scene.
And in the end, I think it was one of the girls...
...who said that she would just-- As she is.
She would just go and sit under the shower in her dress.
And that was that. So it just seemed logical...
...that what might be convenient for some people...
...for him to pull her out of the shower to comfort her.
We, on this occasion, decided he would...
...just go ignore completely the fact that the shower's running...
...to show his genuine concern for her.
Also, the scene lasted a little bit longer than you see here.
And it was a little bit of electronic morphing, as we say...
...just right about here, which shortened the scene.
I have to say, it's extraordinarily done...
...because it's almost imperceptible.
One of the challenges with this scene...
...was the fact that they are seen through a sheet of plate glass...
...and all the reflections that that caused.
It's amazing that the camera is actually reflected.
But it isn't seen enough for you to make it out. But it is actually there.
But the cameras and the operators are covered in black cloth.
And also light-wise, I put most of the light...
...in the back of the set here where they're all sitting, nothing...
...in the part of the set where the camera was. So it wasn't visible.
This is Stuart Baird again, the editor.
I just wanted to make a few comments about the card game...
...which gave us so much apprehension...
...when we started making the movie, in terms of will they hold...
...and the editorial challenge that they posed for me.
We all worried about the card games...
...because they came in that middle section...
...which often is a slow section in a movie.
And they were crucial to the structure of the film.
And yet they were all in the same place...
...all with the same people, with the same game.
And to get the pacing of them and the sense of...
...constant interest. And yet we were absolutely determined...
...to make the games accurate. Not to try to sex them up.
They were accurate games in terms of their, what do you call, their--
I'm not a poker expert but Michael Wilson is.
And we made it absolutely-- I hope we made it...
...absolutely accurate in the game the way it was being played.
And that created limitations on me because I wanted to tighten them up.
We did a lot of tightening. Huge tightening in those sequences.
And but we still had to feel the game was going.
But essentially, if you see those sequences...
...those sequences are like any--
I've cut other films which have card games in it.
It's a mano to mano. It's really eyeball to eyeball rather than the cards.
And so Martin and I-- You know, I said to him...
...when we were discussing how to shoot these scenes.
Because those weren't storyboarded, because it's impossible...
...to storyboard a game. Or he felt it was impossible to storyboard.
But he had planned a load of shots. But I just said:
"You really have to shoot everything you can possibly think of.
And that is left. Leave it with me as an editorial process."
So we shot a close-up. A lot of close-up eyes, close-up hands...
...close-up cards. Wide shot, crane shot, tracking-round shot.
And then it's really an editorial job.
And almost more of an editorial job than the action sequences.
Well, because as I explained, the action sequences...
...were storyboarded and structured in each of the shots.
So those that maybe look less interesting in terms editorially...
...actually if you analyse them, are actually more interesting...
...than running around and chasing and beating people up.
Editorially, if you're interested in the structure of movies...
...and how you create tension...
...and you create a buildup or an atmosphere...
...is to look at dialogue sequences...
...and more subtle sequences.
Because you put just as much work in.
As I said, maybe more work into those.
Hello, Debbie McWilliams again. Big poker game was quite a task.
We started off thinking that we should have real poker players.
But the truth being that actually actors...
...are so much better in front of a camera.
And so then we thought, "Oh, we'll find actors who play poker."
And we didn't have much luck there either. So then the idea was...
...okay, well, we'll cast a really interesting group of actors...
...and then we'll teach them to play poker.
And that was what happened in the end.
Is that in all the countries that I went to during the casting...
...we sort of picked one or two of the more interesting-looking people.
And then also one of the ideas was to revisit...
...one of our old friends from another film. And we tracked down Tsai Chin.
And she was very pleased to be contacted.
And, well, she's kind of one of the top lady players in the world, in our story.
That was the impression. So she got to play on the boat as well.
We then started our own poker academy, is all I can call it.
We found a poker expert, Tom Brook...
...who went to each of these people and spent...
...some considerable time with them, teaching them the rudiments of poker.
We then had everyone come out to Prague, where we were shooting...
...a good week before the game.
And spent all day, every day, at a poker table...
...until everyone was familiar with the moves...
...the way you would hold your cards, the way you'd move your chips.
Because for me, it was essential...
...that it looked like they really knew what they were doing.
This was a game of world-class poker players...
...and they had to look the business. And we worked very hard.
And everybody became completely obsessed with poker.
- I'm Robert Wade. - I'm Neal Purvis.
This scene, I think, is an improvement on the book.
In that she turns him down when he wants the money.
Well, she has an important job in the film.
In the book she's Mathis' assistant, isn't she?
Basically, yes.
Well, this is her job in action. Her being tough and responsible.
But there's another layer to it.
Because what she's really doing is helping the villains.
Because by keeping Bond out of the game, that ends his involvement.
She's also trying to save his life.
Because they don't need him to die if he's not in the game.
So she's doing this for his own good...
...and because she's being made to do it by the secret villains.
She gives a great performance, I think...
...because there's so much going on. So many levels and layers...
...to what her character is going through at this point.
And in fact, none of that is in the book at this kind of level of drama.
She's just quietly betraying Bond.
Here she has a moment where she can show it.
What is she really doing? She's declining him the money...
...which means that he's out of the game...
...which means the villains are gonna win.
But at the same time, she's excluding him from the game...
...which means his life is no longer under threat.
Very well put.
So in this scene, Bond decides no one else is gonna take care of this.
Le Chiffre is just gonna win, he's gonna get away.
I'm gonna have to take it into my own hands.
This is his hotheadedness coming back again.
Grabs the knife.
He's not different from the beginning of the movie, really.
He's gonna kill him. It's a suicide mission. He'll get killed in the process.
But at least he'll have stopped him.
Leiter sees what he's going to do.
And he knows that that will blow the whole thing.
The game will end, it will be a complete disaster.
So if he can keep Bond going in the game. I mean, he's right.
- Bond has got a chance of winning. - Yes.
In the book, it's just a kind of, he's bailed out by the Americans...
...out of the blue. It seems very fortuitous.
But I think that, with this structure...
...we kind of made it more keyed in to Bond's character.
You'd have thought that, you know...
...in the same way as his hotheadedness...
...there's something about Bond's character...
...that is good for the game of poker.
I mean, keeping himself under control, but he's prepared to take risks.
Perhaps more so than Felix would be able to.
This is Phil Méheux, director of photography of Casino Royale.
Start with the Salon Privé.
The fact that was a very good shot...
...to display what some of the problems are with it.
Which is you're lighting their faces around that table.
At the same time, when you're far enough away from the table...
...to see that there aren't any film lights getting in the way...
...and that they're, you know, that they're not showing up.
And one of the things that I had to constantly think about...
...was, A, to change the camera angle for each card game...
...so that the audience wouldn't get bored.
Here we're using wide-angle lenses. And he throws the cards here.
I'm particularly fond of this shot here, which is unusual.
And being able to light them around that table, at the same time...
...give it the illusion of what it is and make everyone look attractive.
In this scene, the poison.
I think the thing about any scene, and this just displays it...
...is that you've gotta make things clear to an audience...
...this is exactly what is going on.
The fact that you've shown those two glasses in close-up...
...makes the audience think something's gonna happen here.
And you don't know what and we don't know what.
And the look on Le Chiffre's face also has plenty to say.
That he expects something.
He's waiting for something to take place.
And before long, we see this take place.
And here, I deliberately made the lighting less attractive...
...to show that things were going on inside his head.
Not so much for Le Chiffre, but certainly for Craig.
We went through many ideas as to how we should convey...
...what's actually going on in his head.
The first idea here was to make the lights in the room seem so bright...
...that it's almost painful to look at them.
And the fact that the camera doesn't stay still...
...it's constantly twisting and turning give that feeling of wanting to vomit.
I changed the shutter angle to 45 degrees...
...which gives a slightly more pixilated look. It looks like a flash photograph.
In other words, motion becomes much clearer and sharper.
And you'll notice it more with the water falling out of the glass.
There's not much that moves in the scene apart from Daniel...
...and he's too big a thing for the effect to show up.
But I think it adds something to it.
Here we're outside of him again, viewing him objectively.
And when he gets to his car, I continue on this frenetic camera move.
And the problem here being that we shot this at night.
And with a car, which is a very reflective surface actually...
...if you think of the windows in the car surface.
So positioning the lamp so they don't reflect in anything was quite tricky.
And also, with the earlier part of the sequence, with the wide-angle lens...
...as it twists and turns, you see a lot of the street behind him.
So obviously, all of that street had to be illuminated and lit.
And here we're in the Barrandov Stage.
...exactly what I tell you.
I'm all ears.
Remove the defibrillator from the pouch.
- Do we know what it is yet? - We're still scanning.
And now we're back outside the Hotel Pupp...
...in Karlovy Vary in the Czech Republic.
And most of this is theoretically possible.
Although there's some doubt as to whether a small device...
...would have enough power to do what it's supposed to do.
But we had a lot of technical advice on this scene.
Adrenaline?
- As soon as it reads charged-- - Lidocaine. That'll work.
These scenes are always a trial to shoot. Because a load of people...
...looking at a computer screen is not terribly exciting.
The set. We had the set built with fluorescent tubes as part of the set.
And I decided I'd use that strange sort of bluey-green colour...
...that you get from tubes to signify the really different place.
And what's important here is that all these three places...
...the laboratory, him in the car and Dench's office...
...they should all have a slightly different look.
If you'll notice that you know where you are in each one.
There's no confusion as to who you're looking at...
...and what scene you're dealing with.
Of course. This scene causes the whole reason...
...that you see him impregnated with that chip at the beginning of the film.
And you'll notice that once he collapses...
...the camera actually becomes more static.
Because in a sense, one of two things is happening.
Either he's dying or he's gonna be rescued.
And of course, as we know, he eventually gets rescued.
And the camera becomes much more conventionally mounted then.
And it becomes much more back to normal with the static camera.
- Now get yourself off to a hospital. - I will do.
As soon as I've won this game.
You're not seriously going back there?
I wouldn't dream of it.
Bet. One million.
Prague is becoming a little bit of a centre now for filmmaking in Europe.
Principally because they have studio facilities...
...they have backup facilities, they have cameras, they have lights.
Several companies have opened up there.
And as each film comes along, of course...
...more and more people get trained, more of the people get experienced.
So it's really quite a good workforce there.
And at least three or four films are going on at any one particular time.
...with this chip exchange, we enter the final phase of the game...
...which means no more buy-ins.
The big blind is now 1 million dollars.
Four players.
It's your bet.
Here they're getting ready for the final game.
This character here is-- He's used to tell us what's happening.
Because the thing about cards is that...
...unless you're a poker player, even if you are a poker player...
...you don't know what everybody's holding in their hands.
So most of the tension is actually invisible.
It's invisible to everybody at the table.
It's invisible to you as a viewer.
So we had many discussions...
...as to how we could make these interesting for an audience to watch.
You'll notice that each of these games...
...is very subtly differently photographed.
The one before he got drugged was in fact very wide-angle lenses.
This one now, the lenses are getting tighter and tighter...
...and longer and longer.
And the faces are getting bigger and bigger...
...because it's really about, as all poker is--
It's about fighting your opponent.
Or dealing with your opponent, as it were.
Rather than the cards he has...
...it's forcing him to make a move that he might regret.
But here we have a situation is how do we see--
How do we know where Bond is in the firmament?
How do we know whether he's gonna win or lose?
So we at least give you one clue as an audience.
We allow you to see Le Chiffre's cards.
And to see that, in fact, he has an extremely good hand.
At this moment in time, we can't see any of the other cards.
So we don't know who else has got a very good hand.
But, of course, the film is basically about these two...
...so there's a good chance that the end denouement's going to involve...
...these two characters.
Raise. All in.
And here comes Le Chiffre, who's looking at what there is.
If you're a poker player, you'll see what there is there.
And you'll see what he's about to show you now, in this very big close-up...
...which was designed to do what he's doing.
And he's realised-- And you, as an audience, realise...
...that he's got a good chance of winning this game.
And there are, in fact, very few hands that can beat this at poker, I am told.
And to deal all these poker games, they must be, of course...
...be accurate from start to finish.
The cards have to come out of the dealer's hands in the right order.
Everybody has to have the right amount of money in front of them...
...as the games progress. So there was a lot of consultation.
A lot of planning went into all of this.
And, in fact, we spent a whole day with the actors...
...actually playing the games, without any cameras...
...so that all of us could see and the actors could see...
...where everybody was in each of these scenes.
And myself and Martin Campbell were able to walk around the table...
...and look at ideas and positions of people.
And you'll notice how the whole thing--
The shots have got tighter and tighter...
...as the game is coming almost to the final denouement.
And here, Le Chiffre feels totally confident...
...that he's got probably the best hand. He's beaten the other two characters.
And you think, "Now how's Bond gonna get out of this?"
Of course, there is only one possible solution.
Only one possible set of cards that you can have that would beat this.
When he turns the cards over--
And, of course, initially, when you see the cards...
...it doesn't look like that great a hand.
But when it's laid out as a straight flush, which is what it is...
...you then realise that he's got the best hand.
In order to telegraph that to an audience...
...who are not familiar with cards and how cards work...
...the sound of applause was laid over this particular shot.
In order to tell everybody that, yes, he's done it. He's actually won.
- For you. - Thank you very much.
My name is David G. Wilson. I'm the assistant producer on Casino Royale.
I think that, you know, filming at home with Pinewood Studios...
...has a certain comfort-familiarity factor.
And I think that going to the Czech Republic, you know...
...was responsible, in some small way, for the look of the picture.
I think there's certain influences you have with certain crews...
...that affect the visual and the feel of the film.
And I think it gave the film...
...a sort of crisper, slightly darker look to it...
...that is in large part due to Phil Méheux...
...but I think also because we're all working in that environment.
It did inform the process, yes. I think it made the film look like a different film.
And feel like a different film than it would have done...
...if we were filming here at Pinewood.
They're going to extract him before dawn.
This is Phil Méheux, director of photography.
The interesting thing about this is that originally this was scripted...
...that all the card players were in, dining.
And they were all called for their night's work...
...and I let the entire restaurant for them.
And then, it was Daniel Craig who suggested...
...that having won $115 million...
...he wasn't about to have a romantic dinner with everybody else watching.
And that probably what he'd done...
...was bought the restaurant off for the night...
...so that he could have a private dinner with Vesper.
Candlelight is a very tricky one to handle, because it's--
You don't get enough light out of one candle...
...to actually illuminate the actors for photography.
So what you have to do is create the illusion...
...and the feeling and the emotion of candlelight...
...without the candlelight itself.
And here, the lights that are lighting Vesper and him are off to the side.
It's more apparent on his face than it is on hers...
...but the lights are actually to his left.
And they're hidden behind her silhouette.
The thing about wide shots and close-ups is that...
...you can do a wide shot. You can put lights a long way away...
...because you don't see people clearly enough.
And when you're shooting close-up, you can move all the lights...
...in closer to everybody and get the best effect...
...out of their faces and their facial structure.
My name is Paul Haggis.
Bond's moral code is something that we see shaped...
...hopefully, in the early films.
You know, in the first incarnation of the Bond films...
...he pretty much came fully clothed and fully armoured onto the screen.
And here we get the chance to start over and see how it develops.
See how, you know, he has to make really difficult decisions.
And finds himself in morality plays that he didn't ever figure he'd be in.
Now here's a shot coming up which will take me a long time to explain...
...but it's such a very short time on the screen.
When he jumps into the Aston Martin and drives away--
Cars being reflective surfaces, basically.
They're made of very reflective paintwork, glass and everything.
In order to do this shot...
...and not see a reflection of the camera or any of the lights...
...was actually took a long time to light.
Hi, this is Gary Powell. I'm the stunt coordinator on Casino Royale.
You can't help but get a big smile across your face when, you know...
...you hear that we're gonna get presented...
...with a brand-new Aston Martin that no one's ever seen before.
Then on the next sentence, it's like, "Also, you're going to crash it."
But Martin sort of said that he didn't want a big chase.
He wanted it to-- People in the audience to think:
He's got in a car, the baddies took off in their car...
...there's gonna be a car chase.
Just as you're sitting in your seat to get ready for it...
...crash-bang-bollock-it's-over sort of thing.
So he said, "I want a really spectacular crash."
He said, "I want it for real, all in one shot."
So I looked on the Internet...
...and I watched quite a lot of the world rally championships.
They always have big crashes when they go off the course...
...so I found a couple, showed them to Martin, and he's like:
"Yes, that's exactly what I want."
Okay, I've showed him it. Now I've got to go and do it sort of thing.
So we had a few test cars, and the original plan was...
...he was gonna hit a very low ramp, an eight-inch ramp...
...at about 70 miles an hour.
And with our test cars that we used, it worked fantastic.
You come down a road, slightly turn into it as if he was avoiding the girl...
...car rolled over, looked great.
Then we got an Aston Martin to try.
We hit the ramp, and it just went through the air...
...straight and up and come back down on all four wheels.
Bloody thing.
So we had three cars on the night to crash.
We took the ramp there again, slightly raised it and moved it to give it a try.
If it worked, great. If it didn't, our B plan was to put the--
We had a cannon in one of the Aston Martins...
...which Chris Corbould put in.
So again, we tried it on the night.
Car come down, it hit the ramp, went up in the air...
...straightened up, come back down again. Okay, then.
So we got the third Aston Martin...
...or the second Aston Martin...
...come down the road and did the cannon...
...and got the world record for the seven rolls.
This is Phil Méheux, director of photography, Casino Royale.
The idea for this scene came about...
...because we were looking for somewhere...
...where Le Chiffre could take him that was--
Be out of the way, and wouldn't be followed by police...
...or wouldn't be spotted or they wouldn't hear noises or whatever.
And we looked at a lot of different houses.
First of all, we looked at an old castle and all sorts of different places.
And then it occurred to us that I'd-- We'd actually looked at this area...
...where these boats were stored for something else.
And I remembered it. And I had a photograph of it.
And I suggested to Martin that, you know...
...why couldn't we use one of these barges?
Why couldn't he take him to somewhere like a barge...
...a sort of place that nobody would frequent.
And no one would be walking past to hear any noises.
And out of that grew this particular scene.
And this is, in fact, a set, again, that was built at Barrandov Studios.
And together with Peter Lamont, we worked out how to design it...
...and how to make it look interesting.
It was obvious there wasn't gonna be any electricity in this place.
So the idea of the kerosene lamp as being the sole source of light...
...was the first issue.
The next issue was to have skylights at both ends of the barge...
...so that the other lights could be brought in to give it depth...
...and to give it something else to work with.
And I deliberately on these shots of Daniel here--
I deliberately let the filler light fall off so that when he does--
When he appears out of the darkness...
...there's a much more sinister thing, that he comes out of the darkness.
The trickiness of the scene, obviously, is to know...
...that Craig doesn't have any clothes on.
But at the same time, one doesn't want to show anything...
...one doesn't particularly want to see.
So the staging and the lighting was done in such...
...that just the single light source on the front of him...
...allowed the other parts of his body to be in blackness or in silhouette...
...so that it didn't become unnecessarily prurient.
Artificial smoke was added to the scene...
...to create those beams of light...
...through the skylights at the back of shot.
It's actually-- If anything, it's just a streetlight.
It's a light that was on the corner of the quay when they pulled up.
It's a cheat. The whole thing's a cheat, really...
...because it would not look like this at all in real life.
But you make it dramatic by doing this.
You make it much more interesting.
And then photography's about making your scenes...
...as interesting as you can be.
Otherwise you end up shooting reality television, if you think about it.
If you put someone in daylight...
...and point the camera at them, you can see them...
...and, yes, you can see their performance, but isn't it nicer...
...to add something extra to it, to actually control the light...
...and control the way it looks and the colours and everything.
And to help to build an emotion and a feeling...
...out of all those tools.
And because it was quite an emotionally tense scene to do...
...we tried to do it in one go, without breaking it up into separate shots.
Except for these moments where we step back from the action.
But certainly this-- All these closer shots, and the midshots...
...were all done as one...
...with many different dolly moves...
...to keep the camera moving.
And all of the actors could stay in the frame...
...and stay in the emotion of the scene.
And both the actors, I thought, did extremely well with this scene.
I don't know if they rehearsed outside the set, but they rehearsed it on set.
And it was pretty obvious where the camera was gonna go.
And Martin's got a lot of experience with moving people around sets.
Because actors have a tendency to walk too far.
So you know, he worked out with Mads Mikkelsen...
...you know, where to do his walks...
...where to hang his coat, and all the rest of it.
And then we see that. And then we build on that.
I'd put my light up and we'd talk about positioning the camera.
Each of these was done as a--
There were three masters done on this.
This two-shot master--
The single of Craig here, and the single on Mikkelsen...
...were done all the way down the whole scene, as complete takes...
...allowing the actors to use-- Get the timings, get the emotions...
...and everything else to work.
I deliberately kept Daniel Craig's eyes in the dark here...
...because he was under pressure.
But of course there's still a glint in the eye...
...so that you can see them and you can see what he's saying.
I can't remember how many takes...
...but certainly the poor actors had to do it four or five times.
But it's interesting with actors.
Sometimes actors prefer not to do it too many times.
Other times, actors feel they could have another go...
...and get something more of it.
Our opinion is that we'll keep going...
...as long as it takes to get as good as you can get.
There's no such thing as the perfect take.
But you can-- You know, if they say they can do something better...
...why not let them have a go and let's see.
And this-- The last shot of this scene...
...when Mikkelsen gets the bullet. This one here.
It was quite tricky to do as you can see...
...because it involved a really complex focus pull...
...from the background to the foreground within two seconds.
Anthony Waye, executive producer.
Generally, Bond script is-- I wouldn't say tame to read...
...but they generally come alive...
...when you start getting the director on board and his ideas go in...
...and then the special effects and the stunts and the visual effects.
And you start getting the theme together, then slowly it comes alive.
This script, I don't think we actually got the final shooting script...
...until December the 20th, I think it was.
And we were shooting January 27th.
It was quite the exciting script to read.
You-- It had everything going for it. And then you got--
All the other elements came in.
It was like trying to get a row of cherries on a one-armed bandit.
And we had a fantastic cast, great locations...
...good script, good director.
All the elements were falling in, which is very rare on a film.
And it was a much tougher, grittier movie.
Very, very bold move for the producers to make, with a new Bond.
But worked fantastically well.
Any ideas?
Hello, I'm Lindy Hemming and I'm the costume designer...
...for Casino Royale.
When you first get given the script, you read it.
And, of course, the minute you read even the earliest script...
...you start to make visual mental decisions...
...about what you think you're seeing.
And then you obviously talk to the director and the producers...
...about what they're hoping to achieve...
...on any film it's the same.
And, of course, on Bond...
...by now I've got quite used to the things they want.
And then you go and visit the Art Department...
...and you talk with the designer--
The production designer, Peter Lamont, in this case.
--and you try to work out what things, what kind of backgrounds...
...what kind of places...
...how the place the person will be in is going to look...
...and you add that into your pot of information.
Then if you're lucky, they cast the actor...
...and in Bond's case...
...of course we knew that it was Daniel Craig in this film.
And you start to think about how he would look in all these circumstances.
That's always like the pre-work.
Then you break down the script into the scenes...
...which people are going to appear in.
And you have to start thinking...
...about what colour you'll dress the principal actor in the scene in...
...and what you'd like the other people around to look like.
And I think with modern films, what usually happens then...
...is you start to do research into what's fashionable...
...what, you know, what designer you might think...
...is producing things you might like to use.
What you think, after looking in all the fashion magazines...
...you might like to design yourself.
And obviously your pillaging and homaging...
...lots of things that you see at the time.
Sometimes you have only the option of making things yourself...
...and designing them yourself because you need so many of them...
...because of a particular stunt that there's no way...
...you're going to be able to buy them.
But some other times, as in Casino Royale, a couple of things--
The designers like Roberto Cavalli and Versace...
...were so keen to work with us-- And Armani as well.
--that they let us come to their ateliers...
...and have things made with our own take...
...on something that they'd produced in that season's fashion's catwalk.
And that's a fantastic thing to do because that's really exciting...
...as well as, you know, you're getting your own input...
...but you're also seeing how these great fashion houses work...
...and how they're able to adapt themselves...
...if they really want to, to doing something for you.
From then, you start to amass clothes.
You have assistants and shoppers and you try to run the whole thing...
...it's huge and rambling, and you start to pull in clothes.
And you have a big room, which is called the Principals Room...
...with empty rails at the beginning.
And slowly, as you make choices...
...and selections and you have things that maybe you can't get...
...but this is the next best thing, you fill up your room...
...with the choices that you have for each character.
And all the time you're checking on which scene they're for--
You label them out into the scenes.
--so that you can make sure that if-- As much as you can...
...people aren't wearing the same colour or the same pattern...
...or a pattern which jars with another pattern, unless you want it to.
And you're just building up the picture of the whole film.
And it's a slow process and it goes on right from the beginning...
...all the way through the film. Because in these days...
...people only cast the actors a very short time...
...before they're gonna be used, so you have to be looking at it...
...first of all, in the long term...
...and in your aspirational way of what it'll look like.
And then secondly you have to look at it...
...on an everyday, every decision basis.
And maybe you have to change things...
...according to someone new who's arrived.
You've got to be on it all the time.
And that's sort of what the costume designer's job is.
As the show goes along...
...that's the thing you really have to make sure you focus on.
...was your smile....
This is Phil Méheux.
I'm often asked by people if it's fun to work on a James Bond film.
Well, all films are hard work, they are 12 hours a day usually...
...they're six days a week more than often...
...and you shoot for 22 weeks.
It's a long time to be concentrating...
...and devoted to one project, and keep your mind on it...
...and keep everything in your head as to where it should be going...
...and what's been happening.
The success of any film is its longevity...
...and whether people want to see it again, or want to see it twice...
...because of all that hard work that many people put into it...
...one doesn't want to think it's gonna survive for two hours...
...and then be forgotten.
One wants these films to go on and on.
I suppose the interesting thing about the Bond films...
...is that they do have a cache, they do have a fan base.
It always amazes me how many people I meet...
...who are ardent Bond fans.
And of course, that adds to the excitement of it all.
That these films will probably last a lot longer than many other films.
As to whether I feel shooting a Bond film...
...is different from shooting another film, it's difficult to say.
Every film you do, requires the same amount of devotion...
...same amount of concentration.
I see them all as my children, if you like.
When people say, "What's your favourite film?"
I used to have a habit of saying, "The next one."
But you do have favourites or you do look fondly on films that you've made.
And certainly Casino Royale's gonna be one of those.
This is Callum McDougall, executive producer, again.
There's a scene were Bond is with Vesper on a beach...
...and he's lying there and says:
"You know, I'm gonna sail for the rest of the life--
My life around the world and you're gonna come with me."
So we needed a yacht and that was absolutely fine...
...because we were meant to shoot that sequence...
...in a place called Portofino in Italy.
And we were gonna shoot it, I think in June...
...and then we were going to take it to Venice and put it into the canal.
Unfortunately, we then decided actually that the beaches in Portofino...
...weren't as beautiful as the beaches in the Bahamas.
So we decided that we would use the boat in the Bahamas...
...which we now needed to shoot in February.
So we were bringing this boat forward by about four months...
...that was a tall order.
Logistically it was a tall order, purely to get the boat there in time.
And we then had to get it back from the Bahamas back to Venice.
I'm Anthony Waye, I was executive producer on Casino Royale.
And they had to sail it from the Bahamas down to...
...I think it was, the Turk Islands, Turk and Caicos islands...
...to put it on the back of a boat.
And they had to sail across to Split on the coast in Croatia...
...and then sail from Split to us in Venice...
...which is quite complicated.
Then it was hit-- Complicated customs problems in Split.
Then coming from there to us it got held up in a storm...
...and we lost contact with it.
Eventually, of course, we got the call at 20 past 8--
I was in bed on a Sunday morning.
--to say the boat's 3 miles offshore, be here by 10:00.
So we rounded everybody up...
...went and met it and gave him a cup of tea...
...and we went straight and went out and raised the helicopter...
...and the camera crew and we went out and shot in the harbour.
Unfortunately, it was very hazy and misty so it didn't work very well.
The next day we were travelling down to Lake Como.
We got to Lake Como, which is like, a 5-hour drive...
...to suddenly get a new forecast that the next day...
...the weather in Venice was gonna be absolutely stunning.
Sparkling, the wind was going to be in the right direction for the yacht...
...and we all drove back again...
...went straight out and within an hour we'd shot it.
And our helicopter, unfortunately, flew a little bit too low...
...and we were severely reprimanded by the police.
But they let us off.
This is Callum McDougall again.
And then we had to get it into the canal...
...for the scene of Bond and Vesper going along the canal.
And that had complexities because the canals are really shallow...
...and it was touch and go whether the boat...
...would actually be able to get down there.
And then, of course, Venice is full of bridges...
...so to take the mast off the boat took a day.
And there's something about yachts...
...you don't want to take the mast on and off too many times...
...so we ended up having to take it off, take it into the canal...
...take it back out again, then we did the shooting of it on the canal--
And that had its own complications...
...because we had it sailing towards a bridge.
And suddenly there were all these other boats coming towards it...
...they'd let the traffic go on the canal, so they had to put the boat...
...in a sudden reverse that unfortunately broke its engine.
So it was a complex of issues that was going on.
But they were unbelievably accommodating...
...here we were asking for this beautiful boat...
...to put down a canal in Italy.
And no one had ever done it before, I think they all thought we were mad.
How much do we need to float for a month?
I've got plenty.
This is Phil Méheux.
We're now back in Barrandov Studios in Prague.
And, in fact, the interesting thing about this scene...
...was it was used to test the women actresses...
...for the part of Vesper.
And poor old Daniel Craig...
...said he had a bit of a problem with this scene...
...because he'd played it so many times with five different actresses...
...and was now having to play it for real...
...and wasn't sure if you'd get anything different or more out of it...
...but he came through.
Now, in Venice, those of you that have been to Venice...
...will know that it's a very small island and the buildings...
...are very much pushed together and there's very little space.
So to find a room this big in Venice is achievable...
...but probably not that common.
And certainly, we had problems finding a lobby...
...which would be big enough to stage our end scene.
In fact, we've now cut to the interior of the National Museum in Prague...
...which has been used in many films.
And we, of course, have added the check-in desk...
...and the extras and the carpet...
...and all those things to make it appear to be a hotel lobby.
And the reasons that the windows behind the actors are just pure white...
...rather than seeing outside, is that outside is not Venice...
...but, in fact, Prague high street, so best to avoid it.
And so from there to a view of Saint Mark's Square...
...obviously taken in the right place...
...and to Daniel Craig back in Barrandov Studio...
...for these interior scenes.
And an interesting trivia note is coming up very shortly.
As he gets on the phone to M...
...who tells him she has a very nice man from the treasury.
If you'll look closely-- Well, you don't know me...
...but, in fact, it is Phil Méheux, director of photography...
...playing the part of the treasury official.
I'm afraid that's all you see.
I wasn't given a featured part, and I wasn't given a close-up.
So you'll be depositing it today.
On my way to the bank right now.
Here we're back in the National Museum at Prague.
As you see, it's really quite a grand lobby...
...but there was nothing in Venice remotely that size.
The nearest thing that looks like it is the Danieli Hotel...
...which we did investigate.
But the parameters of shooting in the Danieli...
...being a working hotel, were so restrictive...
...that we didn't feel we could make it pay as a location.
Nearly all the phones in the film...
...had their screens added on afterwards because it's much simpler.
And also it means you can change the lettering that is on there.
Here we're back in Saint Mark's Square.
Those of you that know Saint Mark's Square will know...
...that the first shot and the second shot...
...are almost in the same place.
So therefore he's run from where he was to where he was.
And here, coming up, is an homage to Don't Look Now...
...of the actress in a red dress.
But also, it was quite important that--
Because he was searching for her, and we are searching for her...
...it was important to make her pretty obvious.
And although it sounds colossally obvious--
See that, she did work quite well.
And Costume Department had to make sure...
...that nobody else in the scene would wear a red dress.
And what's interesting about this scene...
...these are real people walking up the street...
...not knowing the camera is sticking out a window above their heads.
And the same here.
These are real people at the back of the shot there.
There was a lot more stuff in Venice, but it was felt...
...that more passages, more and more alleyways...
...didn't actually add much to the drama of the film.
But now this is outside the music school in Venice.
And we chose this...
...because of the structure of the windows, as you can see here...
...and also the statues that are built inside the quadrangle.
Some of those statues had been added by us...
...so that we could shoot them up.
Obviously, one couldn't destroy a real statue.
One could only destroy a film statue.
You'll notice there are colours on the bottom of each of these pillars.
And the reason the colours are there is to hide the visual-effects gun hits...
...which will become apparent very shortly.
And the issue that Bond never blinks...
...is something that Martin Campbell came up with.
And it's hard, actually, when those squibs are going off...
...or when you're firing a gun, not to blink.
It's Chris Corbould again...
...special effects and miniature-effects supervisor.
The sinking Venetian house was, I guess...
...a sort of special-effect swan song on this film...
...and kept me awake a lot at night.
Being the end sequence, it was--
I was worried that it was not gonna be spectacular enough...
...and, you know, let the film down, but having--
It was gonna be in the script, so we had to deal with it.
And we spent a lot of time, both on the interior set...
...which was built in the 007 Stage...
...and then the exterior model set.
The set was constructed...
...with a giant metal scaffolding around the outside...
...and suspended between two towers with rotating arms on...
...so that it could tilt and it could sink.
At the moment, the set is at the top of its trajectory.
As all the water flies in, the set is being lowered...
...by a computer-controlled mechanism into the water.
I had a team of guys headed by Roy Quinn...
...an incredible team of guys, who lived this, the interior set...
...from start to finish in the film.
And the size of it was initially a bit of a surprise...
...because, you know, the script said, Oh, it was a sinking house.
Peter Lamont, the production designer...
...called me up one day...
...and said, "I wanna show you designs of the house."
And when I saw the size of it, it was, like, four storeys high.
And he quite proudly, with a little grin on his face said:
"Oh, I've based it on the Hotel Danieli in Venice."
Thank you very much, Peter, for that one.
But it gave us a lot of scope. We could sink the set...
...and we put a special tank, 20-foot deep.
We could sink it vertically 20 feet...
...but also we could go through 15 degrees in any axis.
And the same applied to the models, the miniature set which we shot.
We had banks of compressors outside so that we could create...
...the turbulence in the water that would make you believe...
...that all the foundations were crumbling underneath.
Fantastic. I love the set. It became a real obsession.
I was dreaming about this set every night, in the end.
But all credit to all the crew.
Gary Powell came up with some great stunts inside.
And it was difficult with the crew being out in Prague.
You know, a lot of this was done ad hoc.
And Martin would-- We'd obviously report everything to Martin.
But Martin Campbell had to come back...
...and literally do all this on the hoof...
...put the set and the scene together and then make it work.
I think it was great spontaneity that, you know...
...you came up with the end sequence as it appeared.
The miniature set, again...
...was it had its own trials and tribulations, you know?
We tested every single bit of masonry falling off.
I think the chimney brushed on the side...
...we tested about 12 times...
...just to get the right action to it breaking apart...
...the right amount of dust and the right amount of loose bit.
Inside the house was a lift in which Vesper was trapped.
Again, that had to be rigged within this moving set.
We also shot all the--
Because we had the ability to sink the whole set...
...we shot the whole underwater sequence.
You know, normally that would be a different set...
...built in underwater stage.
But because we had the ability to sink this into 20-foot water...
...we shot all the underwater sequence in that same set...
...in the 007 Stage, which, you know...
...saved us quite a bit of time and money doing that.
Towards the end of the sequence...
...when we knew we had it all in the bag...
...we started to do some serious demolition work, you know...
...as far as blowing whole, complete structural floors out on the interior.
The CGI added various dust elements...
...and debris elements to beef it up a little bit.
But we did start blowing, you know, structural joists...
...piled up with furniture and debris.
It was a very fulfilling sequence to do...
...because after the fruition of months and months and months of work...
...I was particularly pleased with the team of guys that pulled it off.
It was a tricky scene to light...
...the fact that it was encased in this metal fabric...
...which allowed positioning of light slightly tricky.
But what I did discover was that the roof was basically open...
...and, in consultation with the Art Department...
...we made four skylights into the top of the set...
...so that I could bring light down from the top.
And as it sunk, I added more light, so I had a whole rig of lights above.
And the lower it got, the more lights I turned on...
...in order to retain the same exposure level throughout.
All of the interior of the set is fibreglass...
...so that it can withstand water and a lot of handling.
And this whole scene took about three weeks to shoot...
...with all the stunts and the underwater footage.
This was quite a complex scene to shoot, and it didn't move very fast...
...because of the enormous amount of effects work and safety...
...that had to be taken into account so that nobody got inadvertently hurt.
Now here, the underwater sequence--
Part of this is still on the actual stage where the sinking house is.
The house is now at the bottom of its trajectory...
...and with a underwater camera crew, these scenes were taken.
Obviously, lights come from above, from the existing set.
And they were augmented with brighter lights...
...in order to penetrate the water...
...and to deal with the peculiarities of water...
...which affects the way lenses work and affects the way light travels.
I think that Eva Green...
...brought something incredible to this scene.
None of us realised what she was gonna do in that last piece.
And watching it on the monitors, the television...
...those video-assist monitors from the underwater camera...
...we were quite surprised and quite taken aback.
Here we're back in--
They were in 007 Stage at the back end with the--
The front of the house had now been removed...
...to reveal the water and the remains of the roof for this last piece.
In order to create the illusion it's on location...
...we've added in a streak of sunlight on the back wall...
...which was done after the effect using computer imagery.
And it does help actually to give it a feeling that you're in a real place...
...rather than indoors in a film studio.
This was what surprised me.
I wasn't sure what Bond was gonna do at this point.
Maybe he and the director had worked out what he was gonna do.
But watching it happen in front of me...
...I was, again, quite overwhelmed by his performance here.
One of the benefits of being a cameraman on set...
...is you do get to see it happen in front of you...
...which is closer than the theatre.
It's Chris Corbould again...
...special effects and miniature-effects supervisor.
We built a separate roof set...
...just for when Daniel and Vesper come out onto the top...
...which really was just a roof set which we could sink to certain levels.
But they actually, I mean, used it stationed in the end...
...with a lot of water turbulence around the outside.
She had a boyfriend. A French....
And here we're back in Venice with the yacht that you saw previously.
A tricky scene to shoot...
...because it's quite a long dialogue scene.
And rather than put the camera on the boat...
...which would have made it static...
...I decided to put the camera on the quay side...
...and let the boat move up and down.
That way, you create an emotional difference...
...between Bond's location and M's office.
And so, again, it keeps the audience interested...
...because there are two different things to look at.
Now, the boat, of course, is turned around...
...to favour the backgrounds each time.
These are one of the tricks that happens in filmmaking a lot.
It's that you're not stuck with it in one place.
You can just keep turning it until you get what you need...
...and what you want behind.
...soon as you can. We need you.
Will do.
There was a different move for me...
...to make M's office look different than you had seen it before...
...to take away the fluorescent-tube light everywhere look...
...and give it a much more dramatic feel.
...did you ever ask yourself why you weren't killed that night?
Isn't it obvious?
She made a deal to spare your life in exchange for the money.
I'm sure she hoped they would let her live.
But she must have known she was going to her death.
And now we'll never know who was behind....
Unfortunately, the sun wasn't very obvious that day.
It was a bit hazy.
But in order to protect Daniel's face...
...because most people don't like sunlight shining directly at them--
It makes them squint, and it's also a not very attractive light.
I actually covered him with a giant flag, if you like...
...12-by-12 black, in order to take the direct sunlight off him.
And I put my own sunlight in using an 18-kilowatt HMI light...
...to replicate the sun.
And that way, I got a more attractive light onto his face...
...and was able to cope with the difference...
...between him and his background.
My name is Paul Haggis. Part of the great thing about writing...
...or participating in the writing of a prequel--
I mean, going back...
...and being able to say, "Okay, this is a story you all know.
Everyone knows where it goes. This is how we get there."
The first time around, no one knew where it was going...
...and now we all know.
And so it's a different way of storytelling now.
This is Phil Méheux.
Here this is in Lake Como.
And the thing about these locations is it's all about the location.
One chooses one's setups...
...to actually get the most out of the location.
That's why we chose a helicopter to set it up.
And here, now it's all about the drama. We know the location.
We don't need to show anything wider any more.
And here comes the newly educated, the newly experienced James Bond...
...to speak the iconic line:
The name's Bond.
James Bond.
David Arnold, composer.
Well, so when we got down to actually recording the James Bond theme...
...I think the orchestra were as hungry to play it...
...as I think we were to hear it.
I kept it deliberately back...
...to the very, very last thing that we recorded.
There was something about building the tension to it...
...that would probably help.
I think if we'd have played it at the beginning of the week...
...you would think that's kind of the end of the movie.
Not that you need to record a score...
...in the order that it appears on the screen.
But I think there was something about the energy and the urgency...
...and the joyfulness of the way that that had to be performed...
...which was essential.
I think placing it, keeping it till the end was the only way we could do it...
...because everyone was completely on the edge of their seats...
...wanting to play it, you know?
Everyone kept saying, "When are we playing the Bond theme?"
So we had a lot of visitors on that-- It was on a Friday afternoon...
...and it was the last thing that we played.
And obviously, we played it before in the previous three films...
...but I think this was the first time that we'd actually played it as a piece.
You know, it had always been interpolated with other things...
...or it had been part of a cue.
And there hadn't been a playing of the James Bond theme as such.
So this was the first time.
And obviously, as far as the character was concerned, almost...
...it was the first time it's ever been heard...
...in a James Bond film, you know, dramatically.
Again, an intellectual conceit...
...but that's kind of the way it had to be placed.
So everyone was really excited about doing it.
And, well, I did play a joke on Nick, my conductor.
I went around the orchestra. We were doing it in the afternoon.
So at lunchtime, I went around the orchestra without him knowing...
...and I asked them to, when they got to the bebop section, the:
If they could put their instruments down...
...and stand up and sing their parts as loud as they could...
...without him knowing.
And Nick, when he's conducting, you know--
Well, any conductor, you know, is very focused.
It's not the sort of thing you would expect...
...to have an orchestra stand up and start shouting their parts at you.
But they did it, and it was really funny. And then we did the take.
Then we stopped and went back.
We did the take. Everyone was relaxed...
...and everyone was up for it and very excited.
And I played guitar with it as well, so I was very excited as well...
...because it's like a treat for me.
You know, having spent all that time on the film.
It's the, you know, one moment, I think, as a guitar player--
It's one of the great things to be able to play, I think...
...you know, one of the fantastic tunes and, luckily, not difficult.
This is Callum McDougall, executive producer again.
I think certainly when we were making the film...
...we all felt that we were making something different.
You know, I certainly did. And when the film eventually--
We went to see a screening of it in London.
I thought it was going to be good.
It was even better than my expectations...
...and my expectations were high.
I think everyone's always nervous when you have--
You know, James Bond is such an iconic character.
And people are nervous of changes.
And people have become familiar, obviously with Sean Connery...
...had become familiar with George Lazenby, Roger Moore...
...Timothy Dalton, and Pierce Brosnan.
And I think people are always concerned about change.
I remember, you know, people in the industry and friends saying, you know:
"What's it gonna be like?" I said, "Honestly, it is fantastic.
It's very, very different."
And so my expectations were high, but they were surpassed.
I thought it was a fantastic end result.
English - UK - Commentary