All language subtitles for Icons.Unearthed.S05E05.A.Dinosaur.Reborn.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

Bond, James Bond.

[Gloria Hendry] Approaching the mid-'90s,

James Bond found himself
somewhat stretched.

Hold it right there.

It had been
approximately ten years

since there was
a truly successful Bond film.

I'd rather not talk about it.

JOHN There is this feeling

of, like, "Are the Bond films

"beginning
to get a little bit clunkier?"

[Hendry] The Living Daylights

had scared
the living daylights...

...out of MGM UA.

And License to Killhad failed to do just that

at the box office.

There was a huge question mark
over whether

we would even make
a James Bond movie.

[Hendry] The studio wasn't
the only one questioning Bond.

Am I going to win or lose?

[Pfeiffer] The Wall Street Journal

said on the front page,

"Is there still a market
for a James Bond film

"in the post-Cold War period?"

Maybe, but we wouldn't gamble

tens of millions
of dollars to find out.

[Hendry] Bond always loved
to gamble,

but now,
the chips were down at MGM.

We had a very tight budget.

It's just one financial crisis
after another.

[Hendry] Before he could save
the world again,

someone needed
to save the studio.

And I said,
"There's blood on the carpet."

"Good, that's how
it ought to be."

[Hendry] By 1990, MGM UA,

Bond's spiritual home
since the '70s,

was struggling.

The future of the franchise
now depended on a character

who could easily have strolled
right out of a Bond story.

An Italian financier called
Giancarlo Parretti.

[Hendry] Parretti bought MGM
for $1.3 billion.

[Chowdhury] Parretti,
in order to finance it,

had promised the rights
to Bond TV output

to other parties,
at a knock-down rate.

Therefore negatively impacting
Cubby Broccoli.

[Hendry] Giancarlo
was playing Hardball.

And Broccoli came back and said,

"No, you really can't."

[Hendry] Cubby had found
a new Bond villain,

and he was the owner
of the studio.

Cubby Broccoli
went into litigation with MGM,

and, ostensibly,
against Giancarlo Parretti's

financial maneuvering.

They got into a lawsuit
over the studio ownership,

and, ultimately, they decided,

"We're just gonna
have to wait this out."

And Cubby Broccoli received
a settlement in his favor.

[Hendry] The Bond rights
were safe,

but MGM was losing
a million dollars a day.

It took
until the early '90s

for them to get in a position

where the studio was out
from underneath

all of this financial threat.

[Hendry] Parretti was many
things straight out of Bond,

a womanizer...

He was wanted
in his native Italy.

[Hendry] ...a convicted felon.

In fact, Giancarlo Parretti
ended up in jail.

[Hendry] One thing he was not
was liquid.

When he defaulted on his loan,

French bank, Credit Lyonnais,
acquired MGM.

A new conglomerate
of investors had come in

and pumped MGM back up.

[Hendry] The bank gave
the studio clear instructions,

to get their house in order.

They bring in new blood.

Frank Mancuso took over MGM UA,

and John Calley came in.

[Chowdhury] He's a famous
Hollywood executive.

[Hendry] Also new

was a young executive
named Jeff Kleeman

who found his job description
just got awfully serious.

The mandate was, essentially,
we had to build MGM UA up,

as well
and as quickly as we could

so that when the deadline came
for Credit Lyonnais to sell it,

they could sell it
for a good price.

Which meant that we had
a ticking clock

of only a few years.

And it was another reason
why, initially,

Frank Mancuso wasn't sure
that he wanted to put

his resources
towards a Bond movie,

which, at the time,
seemed far from a sure thing.

[Hendry] Even if Bond did
get to save the world again,

there was a small complication
on that front, too.

The world had changed
politically in the time between

License to Killand GoldenEye.

[Hendry] Since Bond had last
strutted the silver screen,

the Cold War had ended,

leaving James Bond villainless.

The Soviet empire had collapsed.

So, the question is,
this entire Cold War motif

that Bond had existed under,

what do you do with that?

Where do you go with that?

Who is James Bond
out there fighting now?

A lot of people questioned,
was Bond relevant in the 1990s?

[Hendry] This was arguably

the most serious threat
to Bond,

and there was one other
small matter to address.

Who should be James Bond
in the 1990s?

-
-

It had been
a number of years had passed

since we'd last seen

Timothy Dalton
in License to Kill.

The question was, do we continue
with Timothy Dalton,

or do we find a new actor?

[Hendry] The Broccolis were not
yet done with Timothy Dalton,

but before they could even
think about a new 007,

MGM received field intelligence
that set off alarm bells

about the entire franchise.

Frank Mancuso ordered
a major researcher group

in Los Angeles
to go out and find out

what the audience interest
in a new Bond movie would be,

and they came back
with very dire news.

[Hendry] MGM HQ
had discovered a problem

that even 007 was going to find
hard to fix.

The key market for most big,
expensive, spectacle,

action-based movies
is young males,

and it turned out that there
were essentially no teenage boys

in America who knew
who James Bond was.

I got the message.

[Kleeman] Which is sort
of the kiss of death

if you're trying to sell
the movie to teenage boys.

You know, is this really
the right time for Bond?

[Kleeman] So the attitude
at MGM UA

was the audience has aged out,

it's just been too long.

[Hendry] But it wasn't just
the audience that had aged,

Bond's style of action
was starting to get old, too.

-
-

Action movies had changed.

The competition in action
filmmaking at that time

is ramping higher and higher.

[Kleeman] Cameron,
and Spielberg,

and Zemeckis, and others

had really changed
the way action movies looked,

and felt, and were made.

[Jackson] With action stars
like Arnold Schwarzenegger

and Sylvester Stallone
as the biggest box office draws,

these are the kings
of the kingdom.

And, in a sense, James Bond
was now old-fashioned.

[Hendry] Fleming's Bond,
once the epitome of cool,

was looking pale, male
and stale.

But one thing MGM had
that was fresh was a script.

So, Michael France
writes a new draft.

[Hendry] An updated version
of his story

called GoldenEye.

We looked at the script
that had been developed,

and, frankly,
we were disappointed.

What's the matter, James,
no glib remark?

No pithy comeback?

It wasn't everything
we wanted or hoped it would be,

especially if it was going
to relaunch the franchise

and bring in
a whole new audience.

And also convince Frank Mancuso
to greenlight a Bond film.

[Hendry] With no time to spare,

the Broccolis sent
for a new writer

and found this one.

I came into this
through Barbara Broccoli.

[Hendry] Jeffrey Caine was given
a clear mission brief.

[Caine] Barbara's
instruction was,

"Change it any way you want,
just make it work,

"because at the moment MGM
doesn't feel it works,

"and neither do we."

[Hendry] Thankfully,
Jeffrey only had one condition.

I said to Barbara,
"I don't go away for long

"without my wife being there."

And she said,

"Oh, well,
you know, most of my writers,

"they want cocaine and whores.

"You want chocolate bars
and your wife."

So, they sent for her.

[Hendry] Jeffrey definitely
needed his wife's support...

She made some very useful
suggestions.

...as he rebuilt
Michael France's script

from the ground up.

Michael France had removed
a lot of the things

that gave James Bond
its individual stamp,

it's signature.

He'd removed Q.

So I had to put back in Q.

Need I remind you, 007,
that you have a license to kill,

not to break the traffic laws.

Moneypenny had gone
same as Q had gone.

There were too many
quintessential Bond elements

missing from Michael's script,

so I put them back in.

Good evening, Moneypenny.

It's the comfort of familiarity

that's made the Bond franchise
successful.

[Hendry] But Jeffrey would also
add to that success.

In fact,
most of the main characters

were of my invention.

Ourumov,
the renegade Russian general...

-
-

...a woman villain who was sexy
and dangerous.

I can't breathe.

[Hendry] For the most part,
it was a classic Bond story.

James Bond fights
against a rogue MI6 agent

who aims to use
a satellite weapon

to cause
a global financial meltdown.

[Hendry] And just
because the Cold War was over,

didn't mean Bond couldn't play

with the Soviet-era toys
left behind.

In escaping from the Russians,

I wanted Bond
to climb into a tank.

All the controls would be
marked in Russian,

but that wouldn't bother him.

And he turns right,

and goes
though the nearest building.

That was, to me, a funny moment.

[Hendry] Jeffrey was
rehabilitating Bond

one scene at a time,

but the 17th Bond film
was still missing

one crucial element...

Bond himself.

[Hendry] Even before
the Broccolis

considered replacing
Timothy Dalton as Bond,

MGM executives
were entertaining options,

and some of the options
were entertaining.

At the time, one of the people

who sort of kept coming up
to us was Mel Gibson.

Do you wanna?

Well, then that's fine with me.

[Hendry] But no Bond
had ever started life

as an established movie star.

And with good reason.

They start out very expensive.

So, again, in success,
if you're gonna make two movies,

three movies, four movies,
five movies with them,

how astronomical is that cost
going to become?

[Hendry] The search
for Bond went on.

We had conversations
with Liam Neeson.

[Hendry] But Liam
had marital problems.

Liam Neeson has since
gone on the record to say

that his fiancee said
that she wouldn't marry him

if he took on the role
of James Bond.

[Hendry] The studio saw
a possible future...

We had conversations
with Pierce Brosnan.

...in a name from the past.

We knew that Pierce had been
considered for Bond pre-Dalton,

and, in fact, that Cubby
had liked Pierce for Bond.

He actually felt like he was
more appropriate for Bond now

than he might have been

back when he was doing
Remington Steele

because he had a little more
gravitas to him.

Years from now
when you talk of this,

and you will, be kind.

Oh, he's an asshole, yeah.

[Lazenby] He was rude.

I said something to him,
and he walked away.

[Hendry] Well,
be that as it may,

it was now a new battle
of the Bonds.

Would they go with a brand new
Pierce Brosnan Bond,

or stick with the somewhat
successful Timothy Dalton Bond?

[Kleeman] They talked
about Timothy,

and we talked about Pierce.

We'd made our case for Pierce.

Barbara and Michael, primarily,
had made the case for Timothy.

And then there was just silence.

We were all sitting
in John's office

and it was just silent.

[Hendry] Until...

brooding like
a Bond villain himself,

Cubby broke the deadlock.

[Kleeman] Cubby
had a walking stick,

and I remember him just tapping
his walking stick on the floor.

And we all turn,

and he says, "Pierce it is."

[Hendry] And so,
the man tasked with relaunching

the 007 character
for the '90s...

James Bond.

...was actually
more of an '80s guy?

He was a TV actor

who was now
playing second fiddle

to Robin Williams
in Mrs. Doubtfire.

Miranda's been raving about you.

Odd, she's never mentioned you.

- No?
- No.

Oh, well, um...

What he was not seen as
at that moment

was a big movie star.

So, there was
a little bit of fear

within some of the corridors
of MGM.

[Hendry] At least the project
was being headed

by a legendary producer.

Sadly, Cubby became increasingly
absent due to health problems.

[Hendry] It was time
for a changing of the guard.

Cubby was still involved,

but Michael and Barbara
were the chief people

running the show
on a daily basis.

Not only are they having to
step up to produce this movie,

but they're having to do so
while their father is... dying.

[Hendry] While their father
was ailing,

Barbara and Michael began
to look for their director.

A cheap one, hopefully.

MGM, by this time,
had financial woes,

and they couldn't afford
an A-List director.

Eventually they landed upon
Martin Campbell.

[Kleeman] The knock
against Martin

was that he made, ultimately,

three movies
prior to GoldenEye,

and none of them performed
at the box office.

[Hendry] Martin was going

to need to really nail
his job interview.

When I went into the meeting,
they said,

"Well, what did you think
of the last Bond film?"

And I said, "Well,
I didn't like it very much."

You know, I should have
shut up actually.

[Hendry] Instead, Martin
had a question of his own

for MGM head Frank Mancuso.

[Campbell] And I said, "Why me?"

"One," he said,

"I saw No Escape,and I really liked it."

And I assumed the other was
I was probably cheap.

[Hendry] And he took the job.

So, at this point,

we had a TV actor
to star as Bond,

and we had a feature director
who had never directed

a commercially
successful feature.

[Hendry] So,
MGM naturally greenlit...

nothing.

After all,
the script wasn't even done.

Cubby said,

"How are the meetings going?"

We were having meetings everyday

to talk about the story
and the script.

And I said,
"There's blood on the carpet."

And he said, "Good,
that's how it ought to be

"during meetings,
blood on the carpet."

[Hendry] Unfortunately
for Jeffrey,

there was more blood to come

after he handed in his draft

and received a call
from Barbara.

She called me and said,
"I've got good news

"and I've got bad news."

I said, "Don't tell me.

"The good news is
that you all love the script,

"and the bad news is you wanna
put somebody else on it."

And she said, "Yes."

And I said, "But why?"

"Oh, it needed more jokes."

Did you check her out?

Head to toe.

He did the script.

You know, it just wasn't there.

[Hendry] A new writer
would be drafted,

but in the meantime,
the movie was greenlit

based on Jeffrey's script.

[Kleeman] The budget
we were greenlit

on GoldenEye was $49 million.

[Hendry] Shortly thereafter,
a punch-up ensued.

Bruce Feirstein came in.

[Kleeman] And the idea was
that Bruce was essentially

going to punch up
some dialogue,

and Bruce ended up doing
a lot more than that.

[Campbell] I think he went over

every scene
in terms of dialogue,

the humor, which Bruce
is excellent at doing.

Bruce was most famous
for having written a book called

Real Men Don't Eat Quiche.

[Hendry] In fact,
he was a master of satire,

whose take on masculinity

posed some serious questions
about the nature of Bond.

Who is James Bond now?

Oh, grow up, 007.

I think
that the best summation of that

was a very... slender statement
by Bruce Feirstein

which was just this,

"The world has changed,
James Bond has not."

[Hendry] To Bruce, it was
as clear as a vodka martini...

Shaken, not stirred.

[Chowdhury] While he was
a hard living,

hard drinking,
hard womanizing secret agent,

the world around him
had changed.

And really, it was about,
how does James Bond

respond to that world?

[Hendry] Bond needed rehab,

and the martinis
weren't the issue.

They felt that it was time
to update Bond in some way.

[Hendry] The question was
how to modernize 007

without interfering
with his very DNA?

I have no problem
with female authority.

[Kleeman] Really
for Barbara and Michael

it was always this balancing act

of how do they respect
what their father had built

while moving it forward?

[Hendry] The answer was not
to change Bond,

but to change everything
around him,

from the top down.

- Onatopp?
- Onatopp.

[Chowdhury] Bruce Feirstein
encouraged Martin Campbell

to make M a woman.

Uh, that was me,
actually, I-I...

What I felt was,
it was very important

to sort of bring it up to date,
and to put a woman in the role.

[Hendry] This was more

than just progressive
hiring practices at MI6.

You were saying?

[Hendry] Actually,
it was more to do

with what M was saying.

Because I think you're a sexist,
misogynist dinosaur.

[Hendry] Suddenly,
Bond's own franchise

was calling him out.

He's admonished and challenged
by a newly empowered female.

[Hendry] But it wouldn't be
just any empowered female.

[Campbell] It was John Calley
who said to me,

"Look, if you're
gonna get a woman,

"get someone who's bloody good."

He said,
"How about Judy Dench?"

[Field] When Judy Dench
was first cast as M,

she wasn't what we would call
a movie star.

She was, you know,
reasonably big on British TV.

She was very excited
by the prospect

of appearing in the Bond films.

[Hendry] So were executives.

[Kleeman] We were going to have
this acerbic woman

who was going to call Bond out
on his behavior

as the new M.

It was huge.

I want you to find GoldenEye.

We were all terrified,
but we all got it,

and we said, "Go for it."

[Hendry] In one fell swoop,

the Bond franchise had
triumphantly entered the '90s.

[Kleeman] It was
very important to them

to retain their vision
of Cubby's legacy of Bond.

[Hendry] But part of that legacy
included Bond girls

that also needed to evolve.

You know, this sort of behavior

could qualify
as sexual harassment.

We wanted more than
just beautiful.

You know, beautiful isn't that
hard to come by in Hollywood.

[Hendry] The question
was... how?

[Hendry] GoldenEyehad a semi-reformed 007

and an updated Bond,

but James was
missing something...

a foe, and a female one.

We really wanted somebody
who had a lot of other qualities

and a lot of other stuff
going on with her.

[Hendry] That was true
of the bad girls, and the good.

Diverse qualities
like this unique ability.

- [Bond grunts]
- [Xenia screams]

[Field] Xenia Onatopp, the woman

that killed men
by making love to them

and then breaking their back
in the process.

Xenia Onatopp represents
a return

of women villains
to the Bond franchise.

The casting of Famke Janssen
was a fantastic one.

She wasn't gonna make Xenia
just a cardboard henchwoman.

- Shh.
- I think I've gone to heaven.

Not yet.

[Hendry] And so,
with the villain cast,

they were almost ready to go.

We'd got everybody,
except we didn't have the girl.

[Hendry] A '90s Bond girl
for a '90s Bond.

[Campbell] And, obviously,
the pressure was on

because we were shooting
in six days or something,

and we had no lead actress.

The casting director,
Debbie McWilliams,

had been looking
all over Russia and Yugoslavia.

And she gets to Sweden,
she calls and says,

"I've got the girl."

Welcome to the party, my dear.

[Campbell] Izabella was dumped
on a plane,

literally the next morning,
sent,

she read for 30 seconds.

- Who's that?
- Natalya Simonova.

Immediately, once she read,

we all knew
that she was going to bring

something different
from previous Bond girls.

[Campbell] She looked terrific,
and her reading was terrific.

I gave her the job.

[Hendry] This new generation
of women

were creating
a "Bond girl 2.0."

That's something
that is a unique development

of the necessity and the balance
that seems to come in the 1990s.

[Hendry] But that
wasn't the only first.

GoldenEye would be
the first film

to leave Ian Fleming's stories
completely behind.

The point was it had to be
an original story.

This wasn't from a book,

of which, by the way,
there are very few.

Most people think there are
a ton of books, there are not.

[Hendry] The story
and nearly everything

about GoldenEye was new.

We were all first-timers,

and we all felt the weight,

not just making good
for the audience,

but also,

the pressure to prove ourselves
to the studio.

[Hendry] Well, maybe they could
throw money at the problem.

We had a very tight budget...

-
- [Hendry] Or not.

...to make this movie,

[Hendry] To realize
his film's big ambitions

would require playing
with some small toys.

The jet planes taking off
were actually models.

[Hendry] But there was another
way to save money.

A new gadget was now available,

one more powerful
than anything Q could offer.

We were very aware

that action is now being done

particularly with the influx
of CGI and green screens

in a very different way
from Bond.

[Hendry] It seemed that
Bruce Feirstein's wisdom...

"The world has changed,

"James Bond has not."

...was relevant to this topic
as well.

We wanted to have as little CGI,
as little green screen,

as possible.

[Hendry] And to show
Bond could still

do stunts like no one else,

Martin had a singular idea.

[Kleeman] Martin, coming at it
from a director's point of view

said, "I wanna do
the first big stunt

"in a single shot."

I want to, essentially,
lay down the gauntlet

for the audience
right at the beginning.

[Hendry] The gauntlet
looked like this.

[Campbell] I said
to Barbara and Michael,

"What say we do
a bungee jump off this? Right?

[Hendry] It was a stunt
that would make a statement.

Saying this is a movie
where the action

is taking a completely
different approach

from all those other CGI movies
you're seeing right now.

[Hendry] So different,
that finding a real dam

was quite a bit harder

than programming one
on a computer.

The problem was simply that
most dams curve at the bottom.

So, you know,
they curve outwards.

So, if you're gonna make
a bungee jump,

you know, the stunt man's
gonna hit his head.

[Hendry] But once
the location was found...

[Campbell] And it was
the only dam we could find

that literally
had a vertical wall.

[Hendry] All 660 feet of it
in Switzerland.

[Campbell] We could
do it for real,

so it doesn't look
like it's been cheated.

[Hendry] Doing it for real
would be the job of stunt man,

Wayne Michaels.

[Field] And Wayne
was standing up there,

about to jump off the dam,

he said
he looked out of his left eye,

and he said he saw
this little Italian crane driver

do the sign of the crucifix
before he jumped off.

And he said, "What the hell
have I just agreed to do?"

[Hendry] Well,
he agreed to do this.

- [Bungee cord clinks]
-

[Field] The opening shot
of GoldenEye

is one of the great
James Bond stunts.

[Hendry] This one
even broke a record.

And the bungee jump is

the highest bungee jump
ever done in a movie,

which made
the Guinness Book of Records.

[Hendry] Not all of the stunts

on the GoldenEye shoot
were actually in the script.

Another key actions sequence
in the movie

is the tank chase
in St. Petersburg.

[Hendry] Well,
that was in the script,

but what happened next
wasn't on anybody's radar.

We wanted Bond to go to Russia.

The Bond producers got
permission to actually shoot

in the city of St. Petersburg.

We had all of our permits,
we had the mayor on board.

[Hendry] But Eon Productions
were not the only ones

primed to shoot.

[Kleeman] And we started
shooting the tank chase,

the film crew, the whole
production group showed up

to the set, to the location,

and the St. Petersburg militia
was ringed around the set.

And they explained
that they had orders to shoot

if anybody started filming.

At the time, there was a lot
of illegal business going on.

At which point,
we then saw our security

all get into their cars
and leave.

[Hendry] Producers
sent their fixer

straight to the mayor

waving GoldenEye's permits.

And the mayor said,
"Yes, you have the permits.

"Now that I understand
the extent,

"it's going to cost a lot more."

And the fixer said,
"What do you have in mind?"

And the mayor said,
"$3 million."

[Hendry] The situation was
straight out of a Bond film,

but producers decided,
not this Bond film.

We didn't trust it.

We thought this could happen
over and over and over again.

So, I talked
to my production designer,

Peter Lamont, and he said,
"No problem, I'll build it.

"I'll build you St. Petersburg."

[Kleeman] So
someone on the Broccoli team

came up with the idea

of taking this
abandoned Rolls Royce factory

on the outskirts of London

and turn it into a studio.

It was our only and best option.

[Hendry] And Leavesden
would provide

more than just sound stages.

Because it had been used
to manufacture airplanes,

it had all this space.

It had so much outdoor space.

This was where Peter Lamont,
the production designer,

was able to rebuild
St. Petersburg on the back lots.

And what we did was get

a lot of old T34 Russian tanks
over to Leavesden.

I think they cost £15,000 each.

I think we had five or six.

And Peter built the rest of
the roundabouts, the streets,

the tank going
through the narrow alley,

coming out the brick wall.

There he is, sitting in a tank,

the whole bloody place
has collapsed on his head,

and, you know,
he just instinctively

sort of straightens his tie.

That was my idea.

You know,
you can't resist those moments.

[Hendry] But as they raced
to the finish line,

time would tell
if GoldenEye was going to...

Tank.

[Hendry] To make
a real song and dance

about the first Bond film
of the '90s,

producers needed
a song and dance.

♪ GoldenEye

♪ I found his weakness ♪

One of the most exciting things
about the James Bond roll out

is who is going to sing
the title song?

[Hendry] GoldenEye's theme tune

had a direct line
back to Bond's creator.

The story of the theme song
of GoldenEye

is the story of Ian Fleming.

I mean, Ian Fleming built
this house in Jamaica

called GoldenEye.

So, GoldenEye exists.

[Hendry] Owned
by a music producer,

GoldenEye now existed

as a kind of
musical hang out spot.

U2 and Bono were staying

at Ian Fleming's home
of GoldenEye.

And they were sitting
at GoldenEye

and they came up
with this theme.

[Hendry] The theme
to GoldenEye.

Who better than Bono & The Edge

to actually write the song?

[Hendry] Write it? Definitely.
Sing it? Well...

[Bono] ♪ GoldenEye

♪ I found his weakness ♪

[Hendry] Bono found
a better singer

over his back fence.

[Field] Bono went round
to see Tina Turner,

they were neighbors,
and he left her with a demo,

but he said,
"It's a terrible demo."

But as soon as she put
her voice to it,

boy, you had a classic
James Bond title song.

[Tina Turner] ♪ GoldenEye

♪ Not lace or leather ♪

[Hendry] That was the song,
but what about the dance?

Maurice Binder,
who'd designed the sequences

to many
of the early Bond films,

had passed away
during the six-year hiatus.

[Hendry] GoldenEyeneeded a new choreographer

for its iconic opening.

My name's Daniel Kleinman,
I direct the title sequence

for James Bond films.

[Hendry] Daniel had already
impressed the Broccolis

by directing the music video
for License to Kill.

[Kleinman] I think
my favorite title sequence

of all time is probablyYou Only Live Twice.

The Japanese graphics
and the beauty of the colors,

and the way it
kind of connected to the story

and the exoticism.

That's really fantastic.

[Hendry] Just as the
three-dimensional Bond girls

who are now different,

Daniel wanted to bring

the dancing Bond women
into the '90s.

[Kleinman] What I did want to do

was to change

the title sequence from being

just a kind of list of names
and random images

to being something
which was more connected

to the narrative of the story.

It represented
a passage of time,

and that time is the time
when the Soviet Union crumbles.

I represented that
by the ladies smashing

the Soviet statues to pieces.

[Hendry] More permanent
than Soviet statues

were elements of Bond

that were now
part of the furniture,

like the theme tune.

No one would dare
take the ax to that.

In keeping with wanting
to give GoldenEye

a contemporary feel,

but at the same time,

staying pure to Bond...

[Hendry] Producers
asked for a refresh

from French composer,
Eric Serra,

who had impressed
with his work on Leon.

[Campbell] And I thought,
who could be better

to rejuvenate the whole series
than someone like him?

We thought
it would be interesting

to bring in somebody like Eric,

who had a unique style
of composition.

[Hendry] Executives discovered
just how unique

Eric's style was
when he turned in his score.

The Bond theme
was completely missing.

[Hendry] He hadn't missed
the Bond theme,

he had dumped it completely.

[Campbell] So,
I rang the composer

and said,
"We have a real problem here."

And I explained
what the problem was,

and his answer was,
"Turn down the effects."

"Right?"

So I basically hung up on him.

I've never talked to him since.

[Hendry] And Martin quickly
spoke to someone else.

Hi there, my name's John Altman.

Initially, I had done Leon
with Eric Serra,

and I went with him
as his arranger and conductor.

And matters came to a head.
They telephoned me.

I said, "You're gonna
have to compose

"all the music
for the tank chase.

"I'm throwing out
what I've got."

When I became the composer
of the tank chase,

I was starting from scratch.

I basically knew
they wanted big brass

and, you know, big percussion,

and knew that they wanted

the Bond theme
at certain points...

I said,
"I want a lot of Bond theme."

...particularly with GoldenEye.

You've got tank
bursting through the wall.

Tank hitting the statue,

and the statue landing
on top of the tank.

I think it's crucial.

[Hendry] Also crucial
was the schedule.

I saw the sequence on Friday.

I composed the tank chase
on Saturday.

I orchestrated it on Sunday.

It was copied on Monday,
and we recorded it on Tuesday.

He came back
with the music on Tuesday,

and we scored with his music
and it was terrific.

So, in less that a week,
we had the whole thing done.

I think somebody said,
"You saved our movie."

[Hendry] After six years
in the wilderness,

Bond was back.

Or was he?

Nobody knew how the world
was gonna respond

to the return of 007.

[Hendry] GoldenEye was ready
to relaunch Bond for the '90s,

but would anyone care?

Actually,
on November 17th, 1995...

GoldenEye was a hit.

GoldenEye brought Bond back.

Audiences were ready for it,

the critics were ready for it.

[Hendry] And so were
MGM UA's coffers.

GoldenEye blasted
Bond box office records

with an incredible $350 million
from around the world.

James Bond was finally back.

[Hendry] This relic
of the Cold War

was hot all over again.

For England, James?

No.

All of a sudden, teenagers
thought Bond was cool again.

[Hendry] Even though
GoldenEye had, for many fans,

committed a grievous act
of blasphemy.

The BMW Z3.

[Hendry] Or to put it
another way...

One of the greatest
product placement deals

of the 1990s in Hollywood.

BMW, agile, five forward gears,
all-points radar.

A lot of Bond fans
were very vocal

about not being okay
with Bond's Aston Martin

being replaced by a BMW.

It was just there because...

they'd been paid
to put it there.

But it doesn't do anything.

Product placement isn't
one of my favorite things.

[Hendry] Thankfully...

We barely see the car
in the film.

[Hendry] But that didn't appease
the OG fans,

as outrage reverberated
all the way up

to the very height
of British power.

Okay, not the Queen,

not even MI6,

but certainly Westminster.

[James Chapman] Questions were asked

in the House of Commons

why is Bond driving a German car
and not a British car?

[Hendry] Actually,
Bond still got to drive

his Aston Martin in GoldenEye

as a kind of swerving swansong
in the original DB5.

I enjoy a spirited ride
as much as the next girl, but...

[Hendry] But BMW was now
paying his bills.

They contributed so much
to the movie, so much budget,

it allowed them
to go a lot further

than what Aston Martin
was going to allow them to do.

[Hendry] Bond's
new teenage audience

didn't care what
or how 007 drove.

They were interested
in something much more animated

than an Bond car chase.

Nobody knew just how crucial
this GoldenEye video game

that they approved
would turn out to be.

-
-

[Pfeiffer] They loved
the videogame,

and so they wanted
to see the movie and vice versa.

So, it was
great cross marketing.

[Hendry] Bond had a side hustle
for the digital age.

The GoldenEye video game
immediately tapped

into the teenage boy
video game market,

and it became
this massive success.

And it creates a franchise
of Bond video games

that has sold
millions and millions.

[Hendry] And it had been
made possible

by his daughter and stepson.

[Caine] The Broccolis
did a wonderful job

of keeping that franchise going.

They bent with the wind
instead of breaking.

When times changed
and tastes changed,

they changed with them.

[Hendry] And Cubby got to savor
the fruits of those endeavors

as he watched the last
Bond film he would ever see.

[Field] Cubby Broccoli
was very ill,

and Broccoli passed away
at his home in June, 1996.

But at least he got to see
GoldenEye become a success.

He saw Barbara and Michael
safely take control,

safely take the baton
and run with it.

[Hendry] It was
the end of an era.

Besides Ian Fleming,

no one individual
has defined Bond

more completely
than Cubby Broccoli.

It was very touching,
very, very sad,

sad day to say goodbye
to such a lovely man.

He was such a friendly,
gregarious and loving guy.

I mean, he was so different
than the James Bond mystique.

[Hendry] A titan of Hollywood
whose work spans generations,

Cubby is remembered
as much for his presence

as the presence of his movies.

You know, he was a lovely,
charming, very understated,

warm, lovely man.

He was somebody
who won you over

just by the sheer force

of friendliness
in his personality.

[Hendry] Of all of Cubby's
many savvy decisions

over more than
30 years of Bond,

his greatest might
just have been his last.

[Mike Medavoy] The great thing
that Cubby did

was put Barbara in charge,
you know.

You know,
she learned from the best,

and became
a really great producer.

As a woman, she's,
you know, one of the first

really big-time producers.

Cubby would be so proud of her.

He would be so proud

'cause she's still
flying the flag,

basically,
and carrying on his mantle.

[Hendry] Cubby's death
marked the end of an era,

but the Broccoli name
was still on the marquee

with Barbara and Michael

ushering in a new era

because,
for the very first time,

Cubby's daughter
brought to Bond one thing

her father never could,

a female perspective.

[Hendry] If it's true that...

The world has changed,
James Bond has not.

[Hendry] ...then
Barbara Broccoli made sure

that the world around Bond
kept up with the '90s.

Madame wins.

[Funnell] One of the reasons why
I believe women of the 1990s

in the Brosnan era are so strong
is because of Barbara Broccoli

helming this franchise.

[Hendry] On Barbara's watch,

female characters
had grown in stature

because Barbara felt
they needed a home.

Every woman
in Bond's world has to belong.

[Hendry] And for some,
belonging to the Bond firm

even meant making partner.

[Funnell] So, someone like
Natalya Simonova in GoldenEye,

she's the brains,
she's a computer programmer.

Bond is the brawn.

I was a systems programmer
at Severnaya facility until...

The two of them
form a true partnership,

and they need each other
in order to achieve the mission.

They're going to kill me,
aren't they?

[Hendry] Before GoldenEyechanged the script...

Trust me.

...the position of women
in Bond films was often

well, horizontal.

[Funnell] Especially
the '70s and the '80s,

they really do get relegated

into the role
of damsel in distress.

[Hendry] During
that period of time,

women are supposed
to be submissive.

By the '90s,
if women were submitting,

it was now on our terms.

The Brosnan-era films,
in my opinion,

have the strongest
representation

of empowered women.

And you had
the ultimate Bond woman

in Dame Judy Dench.

It's definitely evolved.

They have evolved.

I think they have become
more proactive.

They've become fiercer.

They're not as much, you know,
being lovey-dovey

and, you know, as sexual.

[Hendry] From the days
of Dr. No's ladies-in-waiting,

to Tomorrow Never Dies...

Wai Lin, I'm from
the New China News Agency.

[Hendry] ...finally,
the first Chinese Bond girl

arrived in 1997,
and she meant business.

Michelle Yeoh
in Tomorrow Never Dies

is definitely Bond's equal.

She's not only equal
to James Bond,

she's arguably superior.

She's known for doing
her own stunts as well.

[Hendry] In a way,
James Bond was now surrounded

by Jane Bonds.

And so, these women
are true partners to Bond.

They can have his back
and fight, too.

In other words, he really can't

complete the mission
without them.

Rather than a submissive woman,
always getting laid by Bond.

[Hendry] But there's still
a time and place for that...

and not simply on Bond's terms.

Molly Warmflash was actually
using James Bond.

I felt as though it was
a very powerful female role.

Small, but powerful.

[Hendry] Having a powerful woman
in the producer's chair

was a breath of fresh air
behind the scenes, too.

Barbara Broccoli
is one of the funniest people

I've ever met.

And so, there was a shot
of my derriere,

so one of my outfits
was this underwear set,

and while we were trying it on,
she said,

"Serena, really,
I'm gonna change your name

"to 'Serena Scott Bottom'."

And that's what she called me.

[Hendry] Come
The World is not Enough,

Barbara's Bond women

had grown powerful enough
to be truly evil.

Who is that young woman?

[Bond] King's daughter, Elektra.

She's the first
woman archvillain in a film.

Five more turns
and your neck will break.

[Hendry] There's no question
who wore the pants here.

I've always had
a power over men.

[Hendry] Finally, Bond women
could spread their wings.

Jinx is Bond's equal.

Not Jinx anymore?

Oh, I'll always be
a jinx to you.

[Hendry] But Pierce Brosnan
was no jinx.

His films were the highest
grossing Bond movies yet.

And when it came time

to move on
from the fifth Bond...

Double-O status rescinded.

...the Broccolis decided
to press rewind.

We want to go back
to Bond's origins.

We want to go back
to the first James Bond novel.

Dust off your copies
of Casino Royale.

[Hendry] Not just back
to the first Bond story.

The whole point was
to reboot the whole series.

[Hendry] Back to a time
before Bond was even Bond.

[Campbell] Casinoclearly is a prequel

because he hasn't become
the James Bond we know.

[Hendry] And the last time
we saw

Casino Royaleon screen back in 1967,

it was absolutely nothing
like the Bond we know.

Peter Sellers
is James Bond.

Casino Royale
was a madcap comedy.

[Hendry] Daniel Craig's
Casino Royale

would be no comedy.

And now, Barbara and Michael
are truly on their own,

and they want to take
this franchise out for a spin,

creatively
as well as financially.

[Hendry] If it didn't unmake
a franchise...

They're really
taking over every aspect

of the production
and the writing in a new way,

and trying something new.

It's their careers

and their lives
on the line as well

'cause this
is their whole life.