All language subtitles for Icons.Unearthed.S05E01.A.Spy.is.Born.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

[Gloria Hendry] Among the crowded field
of household names,

blockbuster franchises,
and cultural phenomenons,

one icon was first
to the punch,

or the trigger,
as the case may be.

- Bond.
- Bond.

- Bond.
- Bond.

- Bond.
- James Bond.

[Hendry] This is James Bond.

It became like a license
to print money.

[Hendry] The world's first
blockbuster franchise,

and a cultural phenomenon

that's been with us since
the Kennedy administration.

That's 70-plus years,

and seven billion
in box office.

They were the franchise
before the other franchises.

[Hendry] Born
of a different era...

- Liar!
-

...this character has navigated
the passage of time...

It's the Rolls Royce
of franchises.

...with a suave
sophistication...

-
-

...and a nonchalant attitude
to killing men...

Shocking.

...and exerting
a debonair flair

with the ladies.

A submissive woman
always getting laid by Bond.

Yet, somehow, even today,

007 enthralls and entertains
audiences around the world.

The effect of Bond
on popular culture is enormous.

[Hendry] But the action
and stunts on-screen,

of which there are plenty...

Just loved all the car chases.
The explosions.

It's always very exciting.

Roger Moore broke a tooth.

That was considered
one of the greatest stunts

in the history of cinema.

[Hendry] But these stunts
are nothing compared

to the real action

and the stunts
behind the scenes.

You've got two partners
that are not getting on.

That son of a bitch
has got half my money.

It's their careers
and their lives on the line.

And you've got a star
that wants out.

Your license to kill is revoked.

[Hendry] With
real life crimes...

Said he simply stole it
and used it.

...international intrigue...

All these exotic places.

...romance and seduction...

I was banging all the girls.

[Hendry] Well, indeed.

Bond has always been
very hands on.

- No!
- He puts his hand on my butt.

- Never mind.
-

Stop hitting women.

Speak up, darling,
I can't hear you.

[Hendry] And of course,
the real Bond villains.

The last thing they needed

was a rival James Bond film
in the works.

He's trying to make a film
that will destroy
the James Bond films.

[Hendry] Discover the secrets...

Most of my writers,
they want cocaine and whores.

...on Icons Unearthed:
James Bond.

G'day, mate.

My name's Bond, James Bond.

[Hendry] From the opening scene,
gun barrel, and song,

to the familiar phrases...

Shaken, not stirred.

There's something incredible
attractive about Bond.

[Hendry] Gadgets...

Super spy, MI6, secret agent.

[Hendry] Bond girls...

Who doesn't want
to be a Bond girl?

...watching a James Bond movie

is as comfortable as
slipping on a tailor-made suit.

This is a global
pop-cultural phenomenon.

Charming, sophisticated
secret agent.

He's the guy that every woman
wants to go to bed with

and every man wants to be.

[Hendry] And it can
all be traced back

to the very first,
real James Bond.

James Bond'sBirds of the West Indies.

[Hendry] No, the spy,
James Bond!

The original plan was
to make James Bond a woman.

A woman?

[Hendry] No, no, no.
First things first,

James Bond was created
by a very interesting man.

Ian Fleming created James Bond
sort of after his own image.

[Hendry] Ian Fleming,
James Bond creator,

born 28th of May, 1908
in London's Mayfair.

Current assignment,
investigative reporter.

Moscow, 1933,

where counter-revolutionary
organizations

were accused of being engaged
in espionage and sabotage.

[Pfeiffer] There
was a high-profile

espionage trial going on.

Fleming covered that
for the London press.

[Hendry] And reporting on these
captured agents

captured Fleming's imagination.

[Chowdhury] He wrote
about Russia

with a thriller writer's eye,

getting beneath the surface
of things.

His reporting on this
very important story

was very well received.

[Hendry] Possibly because
Fleming took to his job

with all the subterfuge of,
well, a spy.

[Chowdhury] He also
saw journalism

as akin to being like a spy.

Acclimatizing
to foreign climes,

finding the network,
and finding the information.

These were the skills
he honed there.

[Hendry] And with the arrival
of World War II,

it was these honed skills

that led Fleming to follow
in his father's footsteps,

serving King and country
in the war.

[Chowdhury] With his background
as an international journalist,

he was handpicked
to become the assistant

to the Director
of Naval Intelligence.

[Hendry] And Rear Admiral
John Godfrey

quickly identified Fleming's
talent for espionage.

It's gonna be a war
for information,

intelligence, and strategy.

And that's where Fleming
found his place.

[Hendry] His place
in the shadows.

The most important thing
that he did was

helped found 30 Assault Unit...

[Hendry] A special unit
on a special mission.

...which was a group
of commandos

who would operate
behind the scenes

to try to secure
the information

that would be kept

in German headquarters
or offices.

[Hendry] This was a world that
James Bond would recognize

right down to the names.

GoldenEye exists.

He was also in charge
of Operation GoldenEye.

[Hendry] This was something

very different to the 1995
GoldenEye movie.

[Chowdhury] GoldenEye
was a stay-behind operation

to prevent
the Nazis taking over

this British territory
at the tip of Spain.

[Hendry] Fleming was so adept
in the dark world,

it was almost as if espionage
was a superpower.

Admiral Godfrey
said that really,

Fleming should have been the
Director of Naval Intelligence.

And these things shaped

the kind of man
he was gonna become.

[Hendry] But Fleming's
covert position

kept him well away
from the front lines.

In fact,
Fleming's war experience

had a dash of paradise
stirred in.

Sorry, shaken in.

During the war,
he went to Jamaica

with a good friend of his,
Ivar Bryce.

[Hendry] Incidentally,
a very rich friend of his.

Heir to the A&P fortune.

Fleming had never been
to Jamaica before.

It was a tropical
lush paradise.

He said, "After the war,
I want to get a house here."

[Hendry] But Fleming's ambition
didn't end there.

[Chowdhury] Ian Fleming
would also tell people,

one day he'll write
the spy story

to end all spy stories.

Your PanAm 323 just landed
Kingston, Jamaica.

He arranges to buy
a plot of land

in Oracabessa, the North Shore.

[Hendry] It was the house
that Fleming built and named...

[Chowdhury] GoldenEye.

GoldenEye was
the perfect getaway.

[Hendry] Fleming had
his iconic location.

All it wanted
was a story to fill it.

But not just any story...

The spy story
to end all spy stories.

[Hendry] And at the age of 45,

Fleming had lived
a full, exciting life,

and he was ready
to tell his story.

[Chowdhury] The tradecraft,
the spycraft,

all that Ian Fleming
gleaned firsthand

from his real life experiences

and knowledge
of intelligence operations.

[Hendry] As important
as those traits are,

there are other elements
to James Bond...

You're one of the most
beautiful girls I've ever seen.

...that we can't ignore.

The sexuality,
the sensuality,

the intrigue, the elegance.

They were working
on something very secret.

[Hendry] And Ian Fleming
had experience in that, too.

Because in the late '40s,

Ian Fleming had a visitor
to Jamaica.

[Angelique Jackson] There,
Fleming begins an affair

with a woman
in a very high position,

Lady Ann Rothermere.

Her husband was a press baron

whose family owned
the Daily Mail.

You like married women.
Don't you, James?

Her affair with Ian Fleming
produces a child.

Rothermere demanded a divorce.

[Hendry] And in Jamaica, 1952,

Fleming married his muse,
the former Lady Ann,

leaving his bachelor days
behind.

Ian Fleming was anxious
or had at least some anxiety

about getting married.

You can see that
written into James Bond.

A spy should remain
relatively single

and unattached.

But now he's got a woman
who had been married

to a press baron
of quite considerable means.

And, as Ian said,

"I've gotta make enough
to keep her in asparagus."

[Hendry] Oddly enough,
it's Broccoli

that's the true vegetable
of this story.

But we'll get to that.

In the meantime,
feeling the financial heat...

He was very eager
to commercialize his talent.

[Hendry] And Fleming wasted
no time in doing so.

[Chowdhury] He claims,
on the eve of his marriage,

he was nervous,
and he started writing

to take his mind off the worry
of getting married.

[Hendry] So what would Fleming
write about?

[Chowdhury] This stream
of consciousness novel

born of ideas and experiences
he had during the war.

[Hendry] But the battles
he recalled

from all those years ago,

were from a different kind
of conflict.

Fleming went with
Admiral Godfrey to the casino,

and across the table he saw

what Admiral Godfrey said
were Portuguese businessmen.

Do you mind if I join you?

But Fleming thought
they looked a little close

to the Nazis
he had heard described,

and he was gonna see
if he could gamble with them.

He gambled against them,
and lost every hand.

You lost because of your ego.
And that same ego can't take it.

The idea of conducting,
a war over a gambling table.

Not on a battlefield,
but the green bays.

That stuck with Fleming.

[Hendry] After having lived
a life full of everything

James Bond would come
to embody, oddly...

What's your name?

- ...it was the name itself...
- James.

...that came
from the most innocuous

of Fleming's observations.

[Matthew Field] He was looking
for what he described as...

A really flat, quiet name.

And he looked up
to the bookshelf at his house,

in GoldenEye,
and sitting there on the shelf

was a book called,

Birds of the West Indiesby James Bond.

And he thought, well,
that's a pretty quiet name.

Inconspicuous and anonymous.

And as he said,
he simply stole it and used it.

[Hendry] Of course,
it's not just a name,

but how it's said.

Bond.

James Bond.

[Hendry] But even that
now iconic delivery

was inspired by something
uninspiring.

[Chowdhury] The introduction
in your surname first

is quite a school thing.

You'd normally be known
as your surname,

Bond or Fleming, Ian Fleming.

[Hendry] With a name
for his hero,

and a name for his book,

Fleming set about
hatching the rest of his novel.

He doesn't outline it,
he writes it straight through.

[Hendry] Right from the outset,
Fleming knew what he wanted.

The spy story
to end all spy stories.

[Hendry] Actually, he wanted
something even more than that.

[Field] From the moment
he wrote the first novel,

he wanted to see them
turned into television

and hopefully even films.

[Hendry] For that, Fleming
would need Casino Royale,

published in 1953, to be a hit.

Casino Royale
was very well reviewed.

[Hendry] Among
the British public,

it seemed to have
all the right ingredients.

The zeitgeist that was captured
in Casino Royale,

these luxury items combined with
a hard brutality of espionage.

[Hendry] From the first page,
Bond was heroic,

stylish, and dangerous.

James Bond
has a license to kill.

But I think
what people liked more

was the sexuality,
the intrigue, the elegance,

this world that Fleming
sort of knew pretty well,

that other people were
kind of hungry to read about.

[Hendry] And Ian Fleming
was hungry to write about it.

And Fleming took that to heart

when he started
his second novel.

[Hendry] But
Fleming's appetite...

This is the part I like best.

...was a big one.

And ultimately,
it was the big screen

and the illusive
American market

where Fleming wanted Bond.
However...

The book made so little impact
in the United States

that it was retitled
to an anonymous-sounding

pulp paperback called,
You Asked for It.

[Hendry] It seemed,
in America at least,

that nobody had asked for it.

But Fleming
had one American fan

who was avidly reading
everything he could churn out.

[Chowdhury] During the '50s,
Ian writes a Bond book a year.

The books are slowly taking off.

[Hendry] Also taking off
across the Atlantic,

were the careers of two
ambitious Hollywood producers.

The Oscar-winning Irving Allen

and the delightfully named,
Albert "Cubby" Broccoli.

[Matt Sherman] Cubby Broccoli,
he came from

an interesting family
of immigrants

who developed broccoli

and brought it to
the United States.

[Hendry] But this Broccoli

was very much
in the film business.

Cubby was someone

who liked adventure films
in exotic locations.

[Hendry] And it would come
as no surprise,

he also liked...

Bond, James Bond.

[Field] Cubby Broccoli
was always interested

in Fleming novels.

He'd read them and enjoyed them,
and could see the potential

they could be made
into great films.

[Hendry] The only problem was

his business partner
didn't agree.

Irving Allen
is not much of a Bond fan.

And that caused a big problem.

[Hendry] Albert "Cubby" Broccoli
and Irving Allen

were two Hollywood producers
in the most classic sense.

They wanted to make
good, entertaining films

that had
an international appeal.

[Hendry] But what originally
set them off on the path,

that would soon
cross Fleming's?

They decide to go to the UK

and set up their
film productions there.

[Hendry] And they do so

for reasons that are,
undoubtedly,

the least sexy part
of the James Bond story.

Tax law.

[Chowdhury] In the UK,
they said,

"The more successful your film,

"the more money you get back
as a tax rebate."

[Hendry] That was all
Cubby and Irving needed.

So they strike a deal
with Columbia Pictures

to go and develop movies

that can be made with primarily
British cast and crew.

[Hendry] Allen and Broccoli
were in business.

And they make a film
called The Red Beret,

another film called
Hell Below Zero.

[Pfeiffer] Cubby told me,

"We knew
we weren't making high art.

"We just wanted to make good,

"fun, profitable movies."

[Hendry] So naturally,

Fleming's Bond
was right up their alley.

[Chowdhury] Broccoli
set up a meeting

at Les Ambassadeurs in London.

[Pfeiffer] But Cubby
had the schedule changed.

So he said,
"I've foolishly sent Irving,

"who was not into
the whole concept
to begin with,

"to meet with Fleming
to discuss making a deal

"for the screen rights."

And it didn't go well.

[Hendry] The meeting
was like one between

Bond and Bond villain.

Forgive my not shaking hands,

it becomes a bit awkward
with these, a misfortune.

[Hendry] Polite,
but nearly fatal.

[Field] Irving Allen completely
messed up that meeting

'cause he sat down
and told Fleming

they didn't even think his work
was good enough for television.

[Hendry] Well,
the deal Fleming made in 1954

may well just prove
that that is true.

Fleming sells the rights
to Casino Royale.

For a ridiculous sum.

$6,000.

[Chowdhury] He sells the rights
to Gregory Ratoff,

an actor and producer.

[Hendry] Although
not a lucrative start,

Fleming had done it.

Bond was heading straight
to the big screen.

[Chowdhury] Ratoff then produces

a one-hour adaptation
of Casino Royale.

[Hendry] Correction,
the small screen.

Shot live in CBS, in California.

CBS had a weekly
live anthology series called...

Climax!

[Pfeiffer] They adapted it
for the Climax! show.

[Hendry] Little about
Ratoff's Bond

was very recognizable.

He wasn't even English.

Hello. This is Bond.

The main character
is an American.

Killing's part of my job.

The first James Bond on-screen
was actually Barry Nelson.

[Hendry] And the first
and only...

Jimmy Bond, they call you?

[Hendry] But being American
was a minor change

compared to what Ratoff
had in mind

for the big screen Bond.

The original plan was to make
James Bond a woman.

I'm 007.

They were gonna create
a Jane Bond type character.

[Hendry] Jane was waiting
in the wings.

Susan Hayward was a very popular
star at that time.

[Hendry] But, you guessed it...

This is no place for the girl.
Take her away.

It never comes to pass.

[Hendry] Well, what does pass
is Gregory Ratoff.

[Chowdhury] Gregory Ratoff
passes away.

His ex-agent,
Charles K. Feldman,

then buys the rights
from Ratoff's widow

which he then holds onto.

[Hendry] But would Feldman
hold or fold?

Mr. Bond.

[Hendry] Well, time will tell.

In the meantime,
Fleming was starting

to amass quite a few
Bond novels,

all of which were potential
films in the making,

if only someone will make one.

Fleming needed help,
and so he turned to his friend.

One specific very rich friend.

Fleming's friend Ivar Bryce,
heir to the A&P fortune,

decided that he was gonna try

to get a little bit
into the movie business.

Ivar said,
"Ian, we should do something

"with your James Bond novels."

[Hendry] And Ivar
knew just the director

to help them do it.

This is Kevin McClory.

- McClory liked to drink...
- Vodka?

- Of course.
- ...liked to womanize...

- Hello.
- ...and he had money.

[Rubin] He had been on

Around the World in 80 Daysin 1956.

Take a journey
around the world in 80 days?

I say, this is absurd.

[Rubin] So he had
a little bit of experience

working on an international
production.

[Hendry] And so Fleming,
Ivar Bryce, and Kevin McClory

jumped into the warm,

welcoming tax haven waters
of the Bahamas,

collaborating on a brand new
James Bond adventure

for the big screen.

They all worked together
on this idea

involving the theft
of two atomic warheads

to which the whole world
is held for ransom.

[Hendry] It was the height
of the Cold War,

and the specter of total
nuclear destruction

loomed large.

First you duck,
then you cover.

[Hendry] And S.P.E.C.T.R.E
itself was born.

S.P.E.C.T.R.E?

A non-state-aligned
terrorist organization.

Special Executive
for Counter-intelligence,

Terrorism, Revenge, Extortion.

[Hendry] Even with
the villainous might

of S.P.E.C.T.R.E behind them...

They couldn't make it happen.

[Hendry] The project
was shelved.

[Chowdhury] In 1960,
Ian Fleming spends that summer

writing up
the aborted film ideas

that he'd conjured
with Kevin McClory

into the novel that he calls...

Thunderball.

[Hendry] But in telling
his latest story,

Fleming had stolen someone
else's thunder... ball.

[Pfeiffer] They adapted it
for the Climax!,

borrowed certain things

from what they had
jointly created...

S.P.E.C.T.R.E.

...and turned it into
the novel, Thunderball.

[Hendry] But Kevin McClory...

Kevin McClory
saw things very differently.

[Hendry] In fact,
so differently...

They became very worried

that Kevin McClory
was gonna sue.

[Hendry] And Ian Fleming
had a lot to lose.

Fleming ended up
speaking to a lawyer and said,

"I think I'm about
to be sued by someone

"who's going to take away

"the rights to James Bond
from me."

The lawyer then said
to Ian Fleming,

"They can't take away
what you don't have.

"What you need to do
is have somebody

"option the rights
to all the Bond novels."

So there's a ticking clock.

[Hendry] With the
overwhelming burden

of a litigious calamity
bearing down,

Fleming's lawyer
was able to offer

more than just sage advice

because he had a client
who was in the movie business.

This is Harry Saltzman.

[Sherman] Harry Saltzman
was a wild genius.

He would have
two rotary phones on.

Talking in one
in fluent English,

the other one in fluent French.

[Field] He'd read
the Fleming books,

and was keen
to get his hands on them.

He really wanted
an option on them.

[Hendry] So the lawyer
played cupid.

And his two clients sat down
at their usual spot.

Les Ambassadeurs,
in London, in December of 1960.

Saltzman pitched his plan.

[Hendry] Fleming was desperate.

A deal, which wasn't even
put on paper, was worked out.

[Hendry] But not that desperate.

[Chowdhury] Saltzman, he's got
six months to make the films.

Otherwise, the rights go back
to Ian Fleming.

[Hendry] This deal didn't solve

all Fleming's problems,
but still...

Harry Saltzman ended up

with an option for all
the James Bond novels

with the exception
of Casino Royale.

He's a very lucky man.

[Hendry] It was perhaps the most

consequential deal ever dealt

in the history
of the James Bond franchise.

Because when Thunderballwas published...

Kevin McClory did sue.

He asked for an injunction

against the publication
of the novel.

Oh, it's your S.P.E.C.T.R.E
against mine, eh?

But Kevin McClory
only sued

to get the film rights
just to Thunderball.

He was granted
those film rights.

Well, can't win them all.

And Ian Fleming
pays damages and costs.

That money was delivered
to Kevin McClory in cash.

At his insistence.

He got that suitcase
full of money,

he immediately
went to the airport,

got on an airplane,
and flew to Ireland.

[Hendry] And Kevin McClory
was never heard from again.

Or was he?

The cost of this lawsuit
for Ian Fleming

was more than just
a financial one.

People who were there
in the courtroom at that time

say that Fleming looked like
death walked over him.

[Chowdhury] He was drinking
and smoking heavily.

Seventy cigarettes a day.

He suffers a heart attack
in 1961.

[Hendry] With time running out
for Fleming,

and time quickly lapsing
on a high stakes option deal,

James Bond was in need

of a healthy dose
of financial aid.

And if not that,
a healthy dose... of Broccoli.

Harry wasn't having any luck

getting any financial backing
for the Bond novels.

He couldn't
pull it together

and Harry starts moving on
to other things.

It was during the last few weeks
of the option

that he was introduced
to Cubby Broccoli.

[Hendry] The consequences
of the disastrous meeting

that Cubby Broccoli's
partner had had

with Fleming years before...

Irving Allen told Fleming
they didn't even think his work

was good enough for television.

[Hendry] ...hadn't just damaged
his relationship with Fleming.

[Chowdhury] Cubby Broccoli
and Irving Allen split up.

Broccoli is left
producing solo.

And Cubby Broccoli's
looking for his next thing.

And Cubby says,
"What I really want to do

"is the James Bond stories,
but I can't get the rights."

A friend of his says to him,
"I know the man who has them.

"And I don't think he knows
what to do with them.

"Let's set up a meeting."

[Hendry] And with
the clock ticking,

Cubby and Harry had a meeting
that would change history.

[Chowdhury] They sit down
and make a 50/50 deal.

They form a company
called Eon Productions.

And a very prosperous

and very difficult marriage
was born.

[Hendry] But the partnership
with Cubby

didn't stop the clock ticking.

Eon Productions'
first order of business

was getting a studio to sign on
to making a James Bond movie.

And the well-connected Broccoli
knew exactly where to go.

[Chowdhury] Cubby Broccoli's connections

would first make them go
to Columbia Pictures,

and his friend there
who heads up

film production in the UK.

[Hendry] And just like that...

He turns them down.

[Hendry] Uh, never mind.
Cubby had a plan B.

Columbia and United Artists
were in the same building.

And so all they needed to do was

to walk up a few floors
and talk to UA.

[Hendry] And once they walked
into United Artists...

They did not leave
that room without a deal.

[Hendry] And not just
for one movie...

They make a deal
for six Bond films.

[Hendry] And what a deal it was.

Once the cost of the film
had been recouped,

the producers would get 50%,
and the studio would get 50%.

That was a very lucrative deal
for producers.

[Hendry] Even Fleming
would get a healthy cut.

The deal seemed almost
too good to be true.

Cubby Broccoli
and Harry Saltzman

have creative freedom.

[Hendry] So after
more than a decade
of stops and starts...

007 is here, sir.

...James Bond will finally be
on the big screen.

But the big question was,
which Bond?

Well, I'm flattered.

[Hendry] Not which actor.

- You have a job to do.-Which story?

Who are you working for?

The answer to that
question was, "No."

Bring me the files
on Dr. No, will you?

They chose Dr. No
because they felt

they could do it within
their budget parameters.

[Hendry] But the money men
were watching them like hawks.

[James Chapman] Film financers
had experience

of dealing with
Broccoli and Saltzman.

Both of whom were regarded

as producers who could not
control a production.

They weren't
on top of their budget.

You were wondering
what it costs.

The deal with United Artists

was to fund the first bond movie
at $1 million.

[Hendry] But there's
car chases, fights,

cardboard box destruction,
international travel...

♪ Underneath the mango tree ♪

...explosions,
and oversized fish!

But that budget...

[Dr. no] $1 million.

The budget on Dr. No
was absolutely ridiculous.

[Hendry] Harry had one idea
that would save money.

He hired his secretary
to write the script.

[Field] Johanna Harwood
was working as a secretary,

but she was really
a budding screenwriter.

That's where her passion lay.

And she worked on a number
of scripts for Harry Saltzman.

All of them unmade.

[Hendry] And the studio was
hoping to keep it that way.

Why have we got this little girl

writing a tough, actionBoys' Own adventure?

[Hendry] Don't worry, there were
plenty of boys involved.

And unfortunately,
Johanna was elbowed to one side.

There's this idea that it takes
a man to write about Bond.

And can women write compelling
stories about James Bond?

[Hendry] Well, Harry and Cubby
certainly thought so.

And with that
full creative control,

it was up to them to pick
the right writer for the job.

And eventually,
the final shooting script

was written by Johanna Harwood.

[Hendry] And what a script!

Faithfully following
Fleming's tale,

as Bond investigates
the disappearance
of a colleague,

only to uncover
a villainous plan

by the evil Dr. No...

I'm not a fool, so please
do not treat me as one.

...who was looking to disrupt
the American space program

with a nuclear-powered
radio beam.

Dr. No is an exciting,
international story.

See that, Captain?

That there is the Caribbean.

It takes place on Jamaica.

[Hendry] And not only
would it be set there,

it would be largely shot there.

And not just because it would
be nice for Ian Fleming.

Jamaica is
a major character in the piece.

An expendable little island,
Mr. Bond.

[Hendry] For
the remaining shoot,

Cubby and Harry would bring

Bond back to Pinewood Studios,

where set designer Ken Adam
would have a very tricky task.

Ken Adam liked big sets.

[Hendry] Which would make
for a big problem

with that small budget.

$1 million.

[Hendry] But we'll get to that.

Because Cubby
and Harry had arguably

the biggest decision
to make of their careers.

I'm looking for Mr. James Bond.

[Hendry] Who would play
James Bond?

[Hendry] The search
for the best man

to play James Bond had begun.

[Chowdhury] Cubby Broccoli
had asked his best man,

the actor Cary Grant.

[Hendry] But it was a...
Dr. No from him.

The search for Bond
is a tough search.

Mr. Bond is indeed
a very rare breed.

[Pfeiffer] Every British actor
of a certain age

claimed they were
considered for James Bond.

I am Marcus Antonius.

[Chowdhury] Richard Johnson.

My name's Markway, Dr. Markway.

[Chowdhury] Patrick McGoohan.

My name is Drake, John Drake.

Even Roger Moore's name
came up very early on.

Thank heavens
for English theater bars.

[Broccoli] He was actually
Fleming's choice.

Fleming asked that, so I said,

"We could at least
try that on the series."

But Broccoli noted
that he was perhaps too pretty.

Yes, I know.

So it didn't work out
getting him.

[Funnell] Broccoli had
a different vision,

someone with a bit of that
rugged masculinity.

He wanted some guy with
a little bit of edge to him.

I think he got the point.

[Hendry] And while
tremendous pains

went into finding
the right Bond,

his first leading lady...

Honey Ryder.

...was cast off nothing more
than a single image.

[Chowdhury] Cubby saw a picture
of this woman...

...in a wet t-shirt,
and he's like, this is her.

[Chowdhury] ...and said,
"We've got to have this woman."

And that was Ursula Andress.

[Hendry] Which tells us
an awful lot

about how Cubby's Bond girls
were chosen.

A "Bond girl",
typically there's a woman

that he falls in love with,
or falls in lust with.

They didn't have
a lot of money.

You weren't gonna get
Marilyn Monroe,

you weren't gonna get
Brigitte Bardot.

Most of them
were too big of a name.

[Hendry] Cubby wasn't
the only one

who liked to cast
on pure instinct.

His wife had a keen eye, too.

His wife, Dana Broccoli,

reminded him of Sean Connery
in a picture called

Darby O'Gill
and the Little People.

♪ Oh, she's my dear
My darling one

♪ Her eye's so sparkling
Full of fun♪

Which was a Disney movie.

I said I'd visit your dreams.

[Pfeiffer] And Cubby, he said,

"I said to her,
what, are you crazy?

"He played like
this country bumpkin, this oaf."

Do you think I'm a good lad?

They put him in a movie calledAnother Time, Another Place,

which was supposed to be
his great breakthrough movie.

- What's the matter?
- Nothing.

It bombed,
and they stopped his contract.

[Hendry] But bombs
didn't matter to Dana.

To her, Connery was the bomb.

Why are you
looking at me like that?

[Pfeiffer] Dana said to Cubby,
"I'm telling you,

"that man has got
real sexual magnetism.

"He's got what it takes."

[Funnell] There's always been
a consideration

that Bond likes
the finer things in life.

He tends to have
a very refined taste,

but he's not so high-class
that he's off-putting.

I thought he was delicious,
actually.

[Hendry] The 31-year-old
Scotsman

was summoned to a meeting
with producers.

[Chowdhury] During the talk,
Sean Connery

thumped his fist on the table,

and absolutely refused
to do a screen test.

[Pfeiffer] Cubby said,

"To hear that
from some young upstart,

"that he's not going to do
a screen test,

"we liked that about him."

He said,
"This guy's got balls."

That's the kind of cockiness
that Bond would have.

Connery had walked away.

Ironically,
it was how he walked out

that was about to
seal the deal.

[Chowdhury] When Sean Connery
walked out of the office,

they appeared at the window
to watch him

walk across the street
to his Porsche.

And they saw that
he moved like a leopard.

Connery had grace
in his movement,

and a raw masculine sexuality.

[Hendry] But was Sean Connery
too raw?

You smell nicer already.

Sean was a working class guy
from Edinburgh.

He had lived a completely
different life from Bond.

Connery had come
from such a different world.

Growing up,
he had delivered milk.

[Hendry] Could
a Scottish milkman

pull off the suave,

sophisticated,
super spy James Bond?

Despite a spotty
track record on-screen...

My name is Michael.

...and an entirely
inappropriate grasp

of suave sophistication.

[Field] Sean Connery
would have admitted himself

he was a bit rough
around the edges.

What needed to happen next

is they needed to make him
James Bond.

[Hendry] So Connery
was going to need direction,

and to give it to him...

All right, here we go now.

...the movie's director.

This is Terence Young.

[Pfeiffer] He was very Bondian
in real life.

He socialized
in snooty society.

He's very much the epitome
of the British gentleman.

He knew how to dress,

he knew what drinks were proper
and how to prepare them.

Terence Young
took Connery in hand,

he took him to his tailor
in Savile Row.

Where were you measured
for this, bud?

My tailor, Savile Row.

Taught him how
a gentleman dresses.

What a fine wristwatch
feels like on your wrist.

- Useful and unobtrusive.
- But of course.

He had Connery
sleep in his tailor-made suit

so that he could wake up
the next morning

and see how good
it still looked on him.

[Hendry] Looking like a leopard
among London's well-to-do

is all well and good,

but Sean Connery would merely
be playing the part.

At least for a while yet.

Sean Connery
was paid £6,000 for Dr. No.

Which is not a big salary.

[Hendry] And as for
the movie's villain,

who would play Dr. No?

Clumsy effort, Mr. Bond,
you disappoint me.

They went with Jewish-American
actor, Joseph Wiseman.

He was not a big name.

He had been one of the villains
in Detective Story.

And what are you trying to do,
hang me?

I want to call a lawyer.

[Hendry] There was no doubt

that Wiseman could play
bad guys.

A successful criminal brain
is always superior.

[Hendry] But this bad guy...

I was the unwanted child
of a German missionary

and a Chinese girl
of good family.

He brought a great presence
to the role.

But Dr. No
is half-German, half-Chinese.

[Hendry] And Wiseman
wasn't Chinese or German.

Something that producers
felt they could make up for...

with makeup.

[Funnell] You have a white actor

who's presented in yellow face
playing a Chinese character.

Today, you wouldn't cast
a Jewish-American actor

in a part like that.

You persist in trying
to provoke me, Mr. Bond.

Joseph Wiseman
would never get that role.

That was a different time.

[Hendry] While they may have
lacked diversity,

the filmmakers had
an abundance of ambition

when they started filming
in Jamaica in early 1962.

When trouble comes,

you'll find this is a very small
and naked little island.

[Hendry] But would there be
trouble in paradise?

[Hendry] Jamaica, January, 1962.

Welcome to Jamaica,
Mr. Bond.

[Hendry] It was
full steam ahead,

with Sean Connery attempting
death-defying stunts.

Sean Connery claims
he was nearly injured

during the making of that film.

Dr. No did turn out to be

a more troubled production
than expected.

And the weather was awful.

They had rain, they had swamps,

they had hurricanes.

The sets were damaged.

- Must we come this way?
- Yes.

They were filming in the
Falmouth Swamps of Jamaica.

Damn mosquitos.

You can almost smell
that fetid swamp land.

[Sherman] It's filled with mud
and bog.

It looks great on film,
but made shooting a nightmare.

Stay where you are.
All of you.

The dragon tank.

A local company built a tank
on top of a tractor.

It was forever breaking down.

[Hendry] It was as if
the location was eating up

the props and the cast.

And the mosquitos

weren't the only
unwanted guests on the set.

[Sherman] On that famous beach

where Connery's ducking
from machine-gun fire...

- Fire!
-

...Ian Fleming brought one
of his best friends to the set.

Meanwhile, the director,
Terence Young, said,

"Who the hell is this
on my movie set?"

because they were
interrupting filming.

[Hendry] The set in Jamaica
was spiraling into mayhem.

To turn things around,
they'll need the hand of God.

Or a goddess
would be fine as well.

[Chowdhury] Honey Ryder emerges
like Botticelli's Venus.

What are you doing here?

Except in the novel,
she's naked.

Just looking.

And it's a great, iconic moment.

[Hendry] As for the actress
who played the iconic moment...

Stay where you are.

You weren't gonna get
Marilyn Monroe,

you weren't gonna get
Brigitte Bardot.

[Hendry] But Cubby and Harry

did get the girl
from the poster.

A stunning, but inexperienced,
Swiss-German model.

Ursula Andress,
she really hasn't done films.

She's been too anxious
and too nervous.

So, "No, I'm not gonna do it".

[Hendry] And she wouldn't have,

but for a certain
Hollywood legend.

Kirk Douglas!

He says, "Ursula,
you have to make this with me."

And she agrees.

And she flies to Jamaica.

[Field] Everybody
was absolutely captivated

by the beauty of this girl.

The camera loves her.

She is gorgeous beyond belief.

But nobody had yet
heard her speak.

She was dismissed
as speaking like a Dutch comic.

You don't really believe
all this, do you?

A Dutch comic.

No.

The voice,
the stress was always

that it had to be clear
for the Americans.

If anything
wasn't quite up to it,

it had to be re-voiced.

And so somebody
had to make the decision.

Cubby's like,
"We can dub the voice."

[Hendry] A fact
not known to Ursula.

Even through filming.

She didn't know
she was gonna be dubbed.

Did I do wrong?

[Hendry] Oh, we'll find out what
the future holds for Ursula.

But in the meantime,
back at Pinewood in London,

Ken Adam had been hard at work

taking a shoestring budget

and turning it
into an entire shoe.

Ken Adam liked big sets.

Big sets. Big sets.

[Hendry] From old world charm,
to the lair of Dr. No,

and the rooms therein.

The dome shaped room.

[Dr. no] Sit down.

[Field] When he picks up
the spider in the cage...

[Pfeiffer] Ken had told me,
he said,

"I really didn't even think
it would be possible."

[Wanstall] I will never know
how those beautiful sets

were made from the money,
I think £45,000 or something.

[Hendry] Oh,
maybe a smidge more.

They did actually
go over budget and schedule.

[Hendry] Well, considering...

Broccoli and Saltzman
were regarded

as producers who could not
control their budget.

[Hendry] Dr. Nowas no exception.

[Rubin] They had overages.

Some people
were no longer confident

that Albert and Harry
could control things.

[Hendry] The situation
was so bad,

another Bond
had to be called in.

Its name, bond,
completion bond.

If you're making a movie,

you have to get
a completion bond,

insurance that you can
make the movie

for the amount of money you say
you're gonna make it for.

$1 million.

[Hendry] And if you instead...

...go over budget
and schedule...

[Chowdhury] ...there's the possibility

to maybe shut
the production down.

[Hendry] With the alarm sounding
of Dr. No's budget blowout,

Cubby and Harry lost control
of their picture.

Now they can both pay
for their mistakes.

The completion bond company
stepped in

and took financial control
of the film.

This does not happen that often.

But they were trying to get
every single dollar on-screen.

They wanted that film
to look great.

[Bond] We could be hundreds
of feet beneath the sea here.

They wanted it to sound great.

They wanted it to sparkle
and hop off the screen.

[Hendry] Helping them to do that

was an innovative editor
named Peter Hunt.

[Pfeiffer] Peter brought
a very exciting style.

He cut fast.

He didn't have
transitional scenes.

All that was wasted space
to him.

Just cut to the chase.

Hurry, man, hurry!

-
- Get away quick.

[Hendry] After literally
cutting to the chase,

Dr. No had taken shape.

His secret agent
code number is 0-0-7.

We weren't sure how an audience

would react to Dr. No.

I remember I did go
to a sneak preview,

and Harry was there
and before the film,

the look on his face
was one of complete terror.

He had no idea what he'd got.

[Hendry] But soon,
everybody would.

[Hendry] With
an insurance company

overseeing the final days
of production,

Cubby and Harry
finally had a film.

But was it any good?

A cast and crew screening
would answer that.

When they all came out
with smiles on their faces,

Harry, he knew he'd made
a winner.

[Hendry] That was confirmed
when Dr. No premiered in London

in October of 1962.

Dr. No's release
was a big, big event in England.

[Hendry] It was soon obvious
that Dr. No was a big yes

for the British
cinema-going public.

[Chowdhury] It's a huge critical

and a massive
box office success.

It was hugely satisfying to know
that people loved it.

[Hendry] Dr. No would establish
many James Bond norms

from the iconic intros,
to the John Barry score.

Ladies and gentlemen,

you are listening
to the James Bond theme.

[Hendry] Even those trademark

Bond jokes
were there on the screen.

I think they were on their way
to a funeral.

[Campbell] But humor,
I think, is really essential

because the guy does
have a sense of humor.

It's a Smith & Wesson.

- And you've had your six.
-

He's not just a killing machine.

[Rubin] Ian Fleming
went to see Dr. No

and saw people laughing
in the movie theater,

he said that he didn't know that
James Bond could be funny.

Look, no hands.

[Hendry] That may have been
a surprise to Fleming...

What's so funny about it?

...but the biggest surprise
of all was Ursula's.

She didn't know
she was gonna be dubbed.

[Hendry] And there was nothing
funny about it for her.

Cubby brought in
an actress, Nikki van der Zyl,

and had her role
completely dubbed.

I often come here
to get the shells.

Ursula Andress,

she eventually
had it put in her contract

that Nikki Van der Zyl
could not dub

in movies in the future.

[Hendry] Apart from
Ursula Andress' actual voice,

Dr. No seemed to have it all.

You never take me to dinner
looking like this, James.

The iconic cues.

We'll have dinner at once.

Putting these elements
into place

to make sure that we see

that James Bond lives
in this rarified world.

One medium dry vodka martini.

[Hendry] And everyone
could drink to that.

Which was another thing
which we can thank

Ian Fleming's old friend,
Ivar Bryce, for.

Ivar Bryce loved vodka martinis.

- And he liked them...
- ...shaken not stirred.

[Hendry] That would be
the standing order

for the next 60 years of Bond.

But let's not get ahead
of ourselves because, in 1962,

when Dr. Nohauled an impressive

$60 million globally,

that's $600 million
in today's market,

nobody had any idea
what was in front of them.

World domination,
same old dream.

[Hendry] And as
the old saying goes...

Where there's smoke,
there's fire.

And made it clear
that there would be

an audience for a second movie.

[Hendry] The next two Bond films
were huge successes.

You expect me to talk?

[Hendry] 007 was on his way
to becoming an institution.

No, Mr. Bond,
I expect you to die.

[Field] By the time Goldfingerhad been released,

James Bond was an
international phenomenon.

Bondmania comes
just like Beatlemania.

[Chowdhury] James Bond
was everywhere.

You'll be using
this Aston Martin.

[Hendry] Including
in the toy stores.

The Corgi Aston Martin.

Ejector seat? You're joking.

James Bond toy cap guns,

wallpaper, board games,
action figures.

[Hendry] But just as Bond
began to deliver

the success and riches
Fleming had always craved for,

in 1964, after only three
of his Bond stories

had made it to the screen,

Fleming's own story
came to an abrupt end.

Shortly before Goldfinger

is supposed to premier,
Ian Fleming dies.

[Jackson] Age of 56,
Ian Fleming has a heart attack,

leaving a cultural phenomenon
in his wake.

[Hendry] Fleming's story

is far from the end
for James Bond,

and the franchise would
now continue in the safe hands

of Sean Connery,
Harry Saltzman,

and Cubby Broccoli.

Both Harry and Cubby
weren't talking.

Cracks in the partnership
started to appear.

Harry and Cubby would sit
across the big partners desk

that they had, and look
at each other and think,

"That son of a bitch
has got half my money."

[Hendry] And money will continue

to drive changes
in the James Bond franchise...

...including the biggest
change of all...

G'day, mate.

My name's Bond, James Bond.