All language subtitles for Icons.Unearthed.S05E06.The.Blonde.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

[Gloria Hendry] Since Dr. No in 1962,

James Bond, a man
with impeccable fashion sense,

and an unhealthy obsession
with vodka-based drinks,

has saved the world more times

than you can shake
a martini at,

but by 2006,

the whole franchise
was in peril.

Barbara and Michael
are truly on their own.

It's their careers

and their lives
on the line as well

'cause this
is their whole life.

[Hendry] The producers
wanted a reboot,

a complete makeover to capture

the hearts and minds
of a younger audience.

But who would replace

the devilishly handsome
Pierce Brosnan?

[Martin Campbell] Sam Worthington,

Goran Visnjic,

the guy that plays Superman.

[Hendry] All good choices,

but instead they would choose
a plain Jane,

AKA a Normal Norman,
or should we say,

a Divisive Daniel?

Who's Daniel Craig?
What are we doing?

Why are we rebooting Bond?

They were deeply disappointed.

[Hendry] A Bond no one wanted.

A blond Bond?

[Hendry] Blond, James Blond.

He was not tall, dark,
and handsome.

Eon had made a big mistake.

[Hendry] A Bond without
the gadgets and the gizmos.

[Bond] Gun and radio.

Not exactly Christmas, is it?

[Hendry] A Bond that would prove
everybody wrong.

Oh, my, God, the introduction
to Daniel Craig.

[Hendry] So,
buckle up, buttercup.

We've got a license to thrill.

[Hendry] When Pierce Brosnan
became Bond in 1996,

the franchise struck gold.

- You're late, 007.
- I had to stop in the bathroom.

[Hendry] And it turned out
to be solid gold.

With a budget of $60 million,

the film earned more
than $350 million worldwide.

- Is this true?
- What's true

is that in 48 hours, you and I
will have more money than God.

[Hendry] Which was
especially good news.

MGM's current owners,

French bank Credit Lyonnais,
were looking to sell.

GoldenEye is coming out.

MGM is basically
building up its portfolio.

The idea is
they're gonna build it up

and they're gonna sell MGM off.

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

they could sell it
for a good price.

[Hendry] The buyer was this guy.

Kirk Kerkorian, remember him?

[Mike Medavoy] But he was
a total business guy.

He should never have been
running a movie company.

[Hendry] His love affair
with MGM went back decades,

and this would be
his third time

rescuing the darling studio.

The people who were running MGM,

some of them
got very rich off of it,

and some of them,
like John Calley...

[Ajay Chowdhury] The famous
Hollywood executive.

...did not get that huge payday.

So John left United Artists
and he went to Sony.

When John Calley moves
over to Sony Pictures,

he decides he wants to start

his own competing
James Bond franchise.

[Hendry] And with those words...

[Jackson echoing] His own
competing James Bond franchise.

[Hendry] ...once again
Kevin McClory was back.

So he teams up
with Kevin McClory

who owns the rights
to Thunderball.

[Hendry] But the film rights
for Casino Royale,

as you'll remember,

were owned
by Charles K. Feldman.

This was always a thorn
in the side of the Broccolis.

[Hendry] The filming rights
then passed to Columbia,

which then, well,
in a roundabout way,

they had ended up
in the hands of Sony.

Right where John Calley
was headed,

a fact that he knew
all too well.

And Kevin showed up
in John's office and said,

"Now you're a James Bond expert.

"Look at all the success
you've had with Bond.

"Bond can be part of Sony."

And of course,
Michael Wilson,

Barbara Broccoli,

their lawyers,
they looked at this,

the MGM studio lawyers,
they looked at this.

And... they sued.

It was a big,
massive litigation,

and a painful one.

I was deposed in the case.

I was deposed,

and John Calley
was somebody who I adored.

I found myself
very uncomfortably

in the middle of all of that.

I mean, it was a big battle.

[Hendry] It was, in fact,
a battle royale.

MGM versus Sony.

The Broccolis
versus John Calley.

But before
the final bell could be rung,

a truce was offered
in March of 1999.

Ultimately, the suit was settled
out of court.

As part of the settlement,
John made a trade.

He would give MGM
Casino Royale,

which Sony had the rights to,

and in exchange,
amongst other things,

MGM would give Sony Spider-Man.

[Hendry] By 2002,

with Die Another Dayin the theaters,

Eon Productions was planning
its next move.

Die Another Day is a big movie,

it's got ice palaces,
it's got satellites,

it's got, you know,
tidal waves.

They're like, "I don't know
where to go from this."

And Barbara says to Michael,
"What do you want to do?"

And he says, "Oh, you know,

"I think we should doCasino Royale,

"go back and start over."

And she goes, "That's exactly
what I want to do."

[Hendry] Which was now possible,

thanks to the lawsuit
settlement

between MGM and Sony.

Now the great irony, of course,
is in the midst of all of this,

of developing Casino Royale,
MGM changes ownership again,

and it is purchased
by a conglomerate

which includes a major
shareholder being Sony Pictures.

The whole production
of Casino Royale,

which they had spent decades

trying to extract
from Columbia Pictures,

they managed to finally do it

in the settlement
of this lawsuit...

and who distributesCasino Royale?

Sony Pictures.

[Hendry] And while the Broccolis
were looking forward

to finally adapting
Casino Royale their way,

there was one rather large
007-sized problem.

The problem is that
you can't make a brand-new movie

about the origins
of the character

with the same actor.

[Hendry] After four films
that raked in

nearly
a half a billion dollars,

it was time
for this brilliant Bond

to pass on his iconic guns
and gadgets.

Producers went on an extensive
search for the new Bond.

[Hendry] But who could
the producers trust

to helm their new vision
and usher in a new Bond?

Well, Martin Campbell
had proved

without a shadow of a doubt
that he had a golden eye.

They went to Martin Campbell
and said,

"All right, you knew
how to deliver

"a generation's James Bond
with Pierce Brosnan.

"We want you to deliver

"another generation's
James Bond."

The whole point was
to reboot the whole series.

We talked about making it
more realistic,

more like the books,
gritty, tougher.

Casino clearly is a prequel
in a weird way,

obviously,
because he hasn't become

the James Bond we know.

It was what attracted it to me.

They wanted to go back
to what Bond was

from the Fleming books,

and also update it
for the modern times.

More characters now are flawed,
they develop within a picture,

they have an arc,
they're less witty,

they're much more organic,
much more human.

They'd got to a point in Bond

where it got
slightly ridiculous,

and I think it was perhaps

the snowboard sequence
off glaciers,

or the invisible car.

The ultimate
in British engineering.

You must be joking.

Martin had some solid ideas
to humanize Bond

and make him more
than the sum of his gadgets,

to make him an action star.

When I started work
on the script

with the two boys...

[Hendry] That would be
screen writers,

Neil Purvis and Robert Wade.

...we were just
not getting there.

The idea came that,
why don't we go to Paul Haggis,

and let's see what he would do.

[Hendry] Paul Haggis,
the Academy Award-winning

writer-director
of Million Dollar Baby

and 2005's Crash.

He went back to the book.

He did the end first,
and then worked backwards.

I never quite understand why,
but he did.

And six weeks later,
he delivered a script.

[Hendry] Armed with a license
to reimagine,

the creative minds behind
Casino Royale

embarked on a revolutionary
rethink of our action hero.

A whole new kind of Bond,
a vulnerable Bond,

an inexperienced Bond,
a complex character,

much more complex, I think,
than what we've had in the past.

Basically,
what they're trying to do

is reintroduce the audience

to all of the things,
the iconography of James Bond.

[Hendry] But Paul Haggis
and Martin Campbell

were going beyond revisionist.

Whether it happens to be
the line, "Bond, James Bond,"

or whether it happens to be
ordering the martini.

- Vodka martini.
- Shaken or stirred?

Do I look like I give a damn?

[Hendry] Delving into
an origin story,

which even for a member

of the original
producing family,

was a bit hard to swallow.

[Campbell] When
they're in the casino,

and they're at the hotel,
he goes back to his room,

and there on the bed,
of course, is the dinner suit.

I have a dinner jacket.

And he's really pissed.

And he comes back
and says, "What's this?"

And she felt that Bond,
you know,

would already have got
his own dinner suit.

Why would she give him
the dinner suit?

Well, my argument was
he's not even Bond now.

He's not Bond, you know,
he's from the Secret Service.

[Hendry] And Barbara
wasn't the only one

adjusting to this new Bond.

When Sony were presented
with his pitch,

they were amused,
they spent a lot of money

and this was the only
valuable franchise they had.

[Hendry] Barbara
and Michael didn't want

a car crash of a movie,
like the first Casino Royale.

All they had to do
was convince Sony

that this complete reboot
would have the right impact.

[Hendry] By 2005, the script
for the new Casino Royale

was in the bag,

but the battle
for who should be

the next James Bond
still raged on.

Sam Worthington was one of them.

Goran Visnjic,
the guy that plays Superman.

He came up too young.

[Hendry] But just
as her mother knew

Sean Connery
would be perfect for Bond,

Barbara Broccoli already knew
who should be the next Bond.

[Sherman] Barbara saw him
and said,

"He has more magnetism
than I've ever seen.

"I'm telling you,
this guy has an it factor."

[Hendry] But the 38-year-old
Daniel Craig

was still relatively unknown,

mostly confined
to supporting roles.

Well, Craig was an actor

who had a profile
on British television.

He was in one
of the Lara Croft films.

He'd had big success,
critical success,

with the gangster film,Layer Cake.

- Do you know where I live?
- No.

Well, fuck off then.

[Hendry] But the guy
who would be

calling the shots
wasn't convinced.

Well, certainly in my mind,
at the time, you have Connery,

you have Roger Moore,
you have Pierce.

All very good-looking
leading men.

Very Bond-ish. Handsome.

- Yes.
- [Hendry] Ah, yes.

Let's not forget about George.

Of course, Daniel is
much more rugged,

not conventionally handsome.

My name?

If you knew that,
you'd be as clever as me.

No!

[Hendry] The studio
also was not sold on Craig.

A blond Bond?

People were really disturbed
at the idea that he was not,

as described
in Fleming's novels,

tall, dark and handsome.

Sure, the studio can veto
Bond actors, they can suggest,

they can come up with notes,
they can advance a budget,

advance funds, but creatively,

the ball is in the court
of Barbara and Michael.

A lot of people questioned,

"Why are you replacing
Pierce Brosnan?"

People thought
that he was ejected

a little bit too early
from the role.

And Daniel Craig
is a much, much different

type of character
and figure on that end.

He does not have
that same sex appeal.

[Hendry] So, there was a lot
riding on his screen tests.

[Campbell] The tests you do
for Bond are pretty detailed.

They always use a scene inFrom Russia With Love.

It's one of a set,
and they build the set.

You have a day's shoot
for each person.

And that's the scene,
I think, that's been used

in probably every audition
for Bond.

Well, I met someone
who had seen the screen test,

and without giving
anything away,

they said the reason
why the rumored participant

would win is they were
completely original.

And that rumored participant
was Daniel Craig.

[Hendry] Now, all everyone
had to do was agree.

[Campbell] We went to the back
of Harrods to some...

some place where we all sat
in a conference room.

There were eight of us,
I think.

Myself, obviously,
the casting director,

Barbara and Michael,

the head of Sony worldwide,
Amy Pascal.

All the tests are there,

everybody's seen the tests,
you know.

So, your opinion
is completely original,

it's unbiased,
and so, you know...

I think your odds are improving,
Mr. Bond.

It's a very democratic process.

You all put up your hands
as to who you think, so...

and Daniel won it
pretty much hands down.

[Hendry] But when it came time
to sell the public

on their new, grittier Bond,
they missed the boat.

Or should have.

He's coming out to the ship
on the launch

where they're gonna be having

the "introduce you
to Daniel Craig" press event.

His introduction
on the Thames

had the new Bond
in a life jacket,

"Too much health and safety,
not enough pizazz,"

said the detractors.

The British military insisted
that he wear a life jacket.

The press just had a field day.

Oh, James Bond has to wear
a life preserver.

James Bond doesn't need
a life jacket.

The man falls out of planes
without a parachute,

why is he doing this?

It's like James Bond is not
an idiot, you know,

but Daniel Craig,
I mean, they had the footage

of him getting on
and they're saying,

"You need to put this on,"
and he's like,

"Do I really
have to put that on?"

And they're like,
"Yes, you do."

[Sherman] A website
broke the Internet.

It was started by some teens,

called
"Daniel Craig is not Bond."

And it listed the 150 ways
in which this man was miscast.

I said to him,
"Do you read this garbage?

"I mean, do you actually..."

And he said,
"Yeah, I read every bit of it."

How do I respond to that?

And there's nothing, in fact,
I could have done.

There's no response,
except to just get on with it.

Unlike Pierce Brosnan,
Daniel Craig was another actor

who didn't come to the role
with any background

that made you say,
"Oh, yeah, I already see him

"as a James Bond type."

[Hendry] Historically speaking,

Daniel Craig wasn't
in great company.

George Lazenby
and Timothy Dalton,

are they considered the most
successful of the Bonds?

Certainly not box office-wise.

I met him a couple of times,

and he couldn't wait
to get away from me.

[Hendry] With the casting
of the elite character settled,

the producers went looking

for a worthy adversary
to take him on.

Le Chiffre in the book

and in the film is not
a super villain.

He's almost like a henchman.

He has a few people
working for him,

but he's all about
the money, honey.

[Hendry] And once again,
the producers took a gamble

on an actor
that had yet to make

his mark on the world stage.

Danish actor Mads Mikkelsen,

his accent, his voice,
and his look

are beautiful and complement
Daniel Craig wonderfully.

Welcome, Mr. Beach.

Or is that Bond?
I'm a little confused.

Well, we wouldn't want that,
would we?

[Hendry] For the
recurring character

of CIA agent Felix Leiter...

Hello, Felix,
what are you doing here?

...producers went to the
critically acclaimed actor,

Jeffrey Wright.

Jeffrey Wright added
a new dimension to Felix Leiter.

Sorry, should have introduced
myself seeing as we're related.

Felix Leiter.

A brother from Langley.

He really isn't just sitting
there holding Bond's coat

while Bond saves America.

He's Bond's equal,
and he's a deep thinker,

and he processes things,
and he does what he needs to do,

even if he had to bend
and break some rules.

He's all yours.

Much appreciated, brother.

[Hendry] Although Wright
was captivating,

hmm, he wasn't ground-breaking.

This is not the first
Black Felix, of course.

Never Say Never Again.

- I'm Felix Leiter, enchante.
- Thank you.

And that was supposedly
because Sean Connery said,

"Nobody ever notices Felix,

"so if we cast a Black actor
people might notice him."

[Hendry] Well,
despite the series reboot,

there was one familiar face
in the crowd.

Have you ever seen such a bunch

of self-righteous,
ass-covering prigs?

I mean, it makes no sense,
of course,

in light of the previous Bonds,
but she was just so good.

Nobody wanted to see anyone else
play M besides Judi Dench.

[Hendry] Unfortunately,
when it came to the role

of Bond girl Vesper Lynd,

things weren't quite
so clear cut.

We tested a lot of girls,
probably five or six.

[Hendry] Hollywood heavyweights
Vera Farmiga, Olivia Wilde

and Angelina Jolie were
all under consideration.

We then thought about Eva Green.

She had an accent.

We loved her.

She looked so great.

And we went to Sony with her,

and they didn't like the idea.

They didn't like the idea

I think because of her accent
and so forth.

[Hendry] Having already
gotten Daniel Craig

across the line with Sony,

they now need to do it
all over again

to get the actress they wanted
to play Vesper Lynd.

[Sherman] They needed
a skilled actress.

She has to be believable
as Bond's ally,

but always holding
something back.

She has to be cold
and aloof and fragile. Why?

'Cause in her heart
she's a double agent,

reluctantly,

and if she pushes Daniel Craig
as Bond on the mission too hard,

she'll be the death of him.

[Hendry] Principal photography
started in January, 2006,

without Vesper Lynd,

but the producers
had a cunning plan.

We started filming in January,

and we had to have it
in the theaters in November,

and it was a huge amount
of pressure to do that.

Finally, we thought
the only way we could get her

was to start filming
and then say to Sony,

"Look, there's nobody else.
We have to have Eva Green."

[Hendry] While Sony debated
whether Eva Green

was the right person
to play Vesper Lynd,

the crew needed to jump ahead
with the shoot.

The opening sequence was
going to sell the new Bond.

The screenwriters,
Purvis and Wade,

wanted to create a scene

that had never
been done before,

but ironically,
they were men of few words.

In the script,
there were six lines.

"And now follows
a parkour sequence

"that's gonna be
the best in the world."

[Hendry] There was, however,
one little problem.

Actually, a towering one.

Where the hell
are we going to find

a building that is half-built

because, obviously,
construction sites

aren't gonna stop work,
even for a Bond film.

And, ironically,
we went to the Bahamas.

There was
a half-built hotel actually.

It was a Canadian company
that had walked away from this.

And the irony was
that it was on the absolute site

of where the hotel sequence
on Thunderball was filmed.

[Hendry] But the over-the-top
style of Thunderball

and all previous Bond films

wasn't what Martin
was going for.

They cast Sebastien Foucan
as Mollaka,

the man bomber
who opens the film,

and he does free running.

And again, Bond's always
taking cutting edge.

Free running was not
that big a deal.

Parkour was just
starting to come to light,

and this guy's jumping around
like a gazelle

on a 200-foot high
construction site.

Everything is pretty much
as you see it in camera.

Sebastien did
the actual parkour, for real,

with no wires attached to him,
and he looked unreal.

[Hendry] What about
Daniel Craig?

Could this scrawny Bond
keep up?

Daniel Craig
worked out really hard

and went from someone

with a small,
little actor's build

to being this big guy.

And he went
through rigorous training

with the boys,
with the stunt guys.

Daniel was a trouper.

I mean, we put him
through a bit of hell on that

and he did a great job.
That was all him.

[Hendry] Martin Campbell
was able to shoot this Bond

with virtually no CGI.

Wire removal, yes,
but other than that.

[Hendry] Daniel Craig
was selling it.

His Bond was tougher, harder,
and clearly rebooted.

In the action sequences,
we see the blood,

we see the danger,
we see moments in which

we think James Bond
may never recover.

That just sold me
that he's the man.

And I thought this is great.

This guy is like an unstoppable
machine, you know?

And I think the whole crew
looked around and thought,

"This is gonna be
something else."

[Hendry] And Craig's
incredible transformation

allowed producers to play
with expectations once again.

He emerges from the sea,
not once but twice,

in the imagery of Honey Ryder
from Dr. No,

and then Jinx Johnson
in Die Another Day.

And so Bond is presented

as being the Bond girl
in that film.

[Hendry] A masterful stroke
from a master director

to this truly iconic moment.

There was no "Oh, let's
replicate Ursula Andress."

I never even thought about it.
Neither did anybody else.

[Hendry] As for the femme fatale
in this movie,

out of time, the studio
finally agreed

to Eva Green as Vesper Lynd.

Apparently
we're very much in love.

Do you usually
leave it to porters

to tell you this sort of thing?

Although her French accent
was an initial concern,

her chemistry with Daniel Craig
was incredible.

Weren't you suppose to enter
so the others could see you?

Was I? Forgive me.

[Hendry] With Eva Green
finally on set,

everything
was running smoothly.

Until another actor
went missing in action.

[Campbell] Bond
played the cards,

he's lost and so
he storms into the...

- Excuse me.-...to the bar.

The actor playing the barman
didn't turn up,

so I got the driver of my car

and I said,
"You'll be playing the barman."

Daniel said, "I need an actor,"
but I felt I had no option.

We played the scene

and the driver
playing the barman...

- Vodka martini.
- Shaken, or stirred?

Do I look like I give a damn?

...did it perfectly.

Daniel, I think,
was still very angry,

and so
when he delivers that line,

it's very much in keeping
with how he felt.

[Hendry] Luckily for Campbell,

a brute bluntness is
just what the scene required

to show
how dramatically different

Daniel Craig's James Bond was.

Before Daniel Craig,

all the Bond actors
were playing the same character.

[Hendry] A smooth dresser.

Shall we?

[Hendry] A smooth talker.

What would I do without you?

[Hendry] Smooth with the ladies

and a taste
for a smooth martini.

Martini, shaken, not stirred.

Casino Royale,
they wiped the slate clean.

Daniel Craig's James Bond

is a different character
than those other guys

and he doesn't have
the same past.

He's a very different actor

and a very different
kind of Bond.

And that tailoring,
that's thanks to Martin.

[Jackson] Martin Campbell proved

he was the right choice
to direct this new era of Bond.

He took big risks
that kept the audience

at the edge of their seats.

[Hendry] Like with this
record-breaking action sequence

that wasn't even
in the original script.

[Campbell] It was originally
written as a car chase.

I just thought, "You know what,
I'm bored with car chases.

"How about we have a car chase
that's not a car chase?"

And so I came up with this idea

where the audience
is gonna sit back,

"Oh, this is
another car chase."

No, it's not.

And you just smack them
in the face.

[Moriarty] Aston Martin
provided all the cars.

I think we may have had five
or six of those cars.

And when it was done,
I think we crashed them all.

[Hendry] As impressive
as the car flip was,

it was another scene

that caused at least
one movie-goer to flip out.

Michael Wilson asked some woman
at a dinner party,

who said she'd seenCasino Royale,

what she thought of the movie.

And she said, "Well, frankly,
I didn't like it.

"I think it's, you know,
terrible that a film like this

"would destroy some landmark,

"take down a house in Venice
for your films."

And he said, "We didn't
take down a house in Venice.

"All those exterior shots,
they're miniatures.

"We built that
on the back lot."

Which he passed on to me

and I took
as a massive compliment.

[Hendry] He even managed

to trick
director Martin Campbell

with some of his other
miniatures.

In fact, I didn't tell Martin

about the model airplanes
until a lot later.

He assumed I'd got some
footage of real aircraft

taxiing at night,
you know, at dusk,

what have you, and flying
and what have you.

[Hendry] But they were actually
miniatures, like this one.

[Begg] It's quite a few tons
in weight on the hydraulics

and with compressed air
and what have you around it

to make the water bubble.

Part of my job, as well as
directing that sequence,

was to make sure
that when we shot it,

it lined up with backgrounds

we'd already shot
in Venice months before.

[Hendry] So, with the sinking
building finished,

the crew headed to a dry studio
to film the underwater scenes.

The whole thing is sinking,

the bad guys are in there,
they've got Eva.

They're trapped
in the elevator.

The elevator collapses
and plunges into the river.

And all credit to Eva
because she was also terrified

of doing that scene,
but for three weeks before,

she would rehearse
with the stunt arranger.

I had a stunt gal
down there with her

to keep air in her
so she wouldn't drown.

She didn't just do one take
and pop back up,

she was in a cage underwater

buddy-breathing until
she got wrinkles.

She overcame that
and did a fantastic job.

All credit to her
for that sequence.

[Begg] I mean, I found her death
very moving.

You know, really moving.

I thought this is not
what I'd expect in a Bond film.

It's quite something.

It's really a pivotal moment
in the James Bond franchise,

and foreshadows what's to come
in the Daniel Craig era of Bond

where he's very much
motivated by loss.

You know,
previous to this point,

James Bond never really loses,
save for Tracy Bond

in On Her Majesty's
Secret Service.

So, this is setting us up

for a totally new objective
for this super spy.

[Hendry] If you thought
this Bond reboot

was limited to Daniel Craig's
blond locks

and his chiseled torso,

it's not quite
so black and white.

Or was it?

The opening action sequence
is memorably filmed

in black and white

and shows Daniel Craig's
James Bond

getting his double-O status.

[Daniel Kleinman] It immediately put you

back into sort of
early days of Bond.

It had a feeling
of the Cold War.

It felt gritty. It felt spy.

And that sort of froze you.

Christ, we're on
black and white.

Never been done before
on a Bond film.

If M was so sure I was bent,
she'd have sent a double-O.

[Sherman] There's always
the question

of how you introduce
the new Bond.

George Lazenby,
you can't see him,

he's just a silhouette
with a cigarette.

Pierce Brosnan,
you see him as hanging

upside down in the bathroom.

Daniel Craig is introduced
as Bond in black and white.

M really doesn't mind
you earning

a little money
on the side, Dryden.

She'd just prefer it
if it wasn't selling secrets.

When he comes on screen,

even though he's young,

even though
he's a little inexperienced,

when you see him in that office,

in that black and white sequence
at the beginning,

you know this man
can carry a license to kill.

[Hendry] If black and white

wasn't striking enough
on its own,

Casino Royale opened
with a bang.

Uh, two, to be exact.

To get the 007 status,
you have to shoot two people.

Your file shows no kills.

In the opening part of the film,
Bond shoots his first person.

-
-

[Kleinman] And then has a fight
with a second guy

and shoots the second guy.

And so,
that second assassination

is what gives him
the 007 status.

It's the start of Bond.

Literally the start of him

as a 007.

[Campbell] I just decided
that wouldn't it be cool really

for the first color to be
the blood running down

the gun barrel sequence.

If we can make an origin

of the gun barrel sequence,
right?

Actually make that clear,

then the blood,
it's the perfect way

to get into the color
of the movie.

Bringing the color in
with the blood as he comes down

with the...
in the gun barrel sequence,

that was a great idea,
I wish it had been mine,

but it was
Martin Campbell's, yeah.

[Hendry] But when it came
to the title animation,

that was all Daniel Kleinman.

With a bit of help from Fleming
thrown in as well.

[Kleinman] One of
the things I did

was to go back
to the original book cover,

which actually had been

designed by Ian Fleming himself,

which looked
like a playing card

with little weeping hearts
on it and stuff,

and I took that
as a start of inspiration

for how I was going

to approach the sequence.

And, obviously,
it still has to be Bond,

it still has to have
some of the tropes

and the historic heritage vibe
and images and atmosphere.

[Hendry] It had the usual Bond
flavor of glamor and guns,

but was missing
one key ingredient, girls.

[Kleinman] Martin Campbell said
that he felt there shouldn't be

any women in the sequence.

The point was
at that stage, narratively,

Bond was still
a kind of proto-Bond.

He wasn't the hurt,

suspicious-of-women character

that he becomes within the film.

Consequently, decided to do it
kind of almost like animation,

or the way people are depicted
in the graphics

on playing cards
had come to life.

I used his stunt double to do
some of the running around

and shooting because

I felt that I didn't wanna
over-tax Daniel.

I didn't have him
for a lot of time.

But Daniel was
such a perfectionist

about how Bond should move.

He did say, "Look,
I think I should do this."

So, quite a lot of those
characters running about

are actually him doing it
because he was so involved

in wanting the physicality
of Bond

in this animated sequence

to be correct.

[Hendry] And Daniel
had a unique way

to etch the new Bond
firmly into people's minds.

[Kleinman] I had this one shot
that I really wanted,

which was him walking
towards the camera

and sort of just revealing
his face at the end,

sort of going
"This is Bond, boomf."

[Hendry] But what really makes
Bond titles sing is the song.

For the Casino Royale
theme song,

composer David Arnold teamed up

with Soundgarden
front-man Chris Cornell.

Such a kind of
full-on rock song.

Quite an un-Bondy track,
in a way.

It was a new masculine
rock anthem

belonging to the stable of rock
anthems like Duran Duran.

♪ Is the view to a kill ♪

[Chowdhury] And A-ha.

♪ The living daylights ♪

[Chowdhury] Or McCartney's
Live and Let Die.

♪ Live and let die ♪

[Hendry] And for Daniel Craig's
edgy Bond,

they had to go hard.

And that raucous rock tune
redefines a new masculinity

of Daniel Craig's James Bond.

[Hendry] But the real departure
from the status quo

was when it came
to the placement

of the Bond theme song.

That's because it's not until

the last few frames
of the movie

that our spy
becomes James Bond.

[Campbell] The amazing thing was

the producers allowed us
not to play the Bond theme

until that very end
of the movie.

It was written like that.

He's a very rough diamond,
you know.

He is indeed a blunt instrument.

But by the end of it,
he's gone through,

both physically and emotionally,

a journey,
which brings him to the...

to become the character of Bond
that we know.

The name's Bond. James Bond.

[Hendry] From the first frame
to the last frame,

Casino Royale had given

the franchise a head-to-toe
makeover.

I suppose
I don't have to tell you

how beautiful you look.

[Hendry] But would fans be happy
with the new Bond?

As we established earlier,

Daniel Craig certainly didn't
float everybody's boat.

[Jackson] From the moment
that Daniel Craig

shows up on screen,

it is obvious
that Casino Royale

is a totally different animal,

and that they're ready
to break every rule.

But even
when they finish filming,

producers didn't know
whether or not

they had a hit on their hands.

Yes.

Considerably.

[Hendry] On November 14, 2006,

the world premiere
of Casino Royale

took place in London.

It adheres quite closely

to what Ian Fleming
had in mind, I think.

[Hendry] Pressure was on
for Daniel Craig

to show the world that a tall,
dark, handsome James Bond

could be played
by an average height,

rugged blond.

Well, I won't consider myself
to be in trouble

until I start weeping blood.

[Hendry] The compressed
production schedule

meant that director
Martin Campbell

had absolutely no idea

what reception Daniel Craig
would receive.

We never even
previewed the film.

We had a friends
and family screening,

which went extremely well.

[Hendry] So, the premiere

was not so much a premiere
as a first screening.

Um...

Not just for those
in the audience,

but also for those
who had made the film.

I thought it was
an absolutely brilliant film,

one of the best Bond films,
in my opinion.

Any nervousness
about Daniel Craig

being the new Bond

was obviously
immediately dissipated.

This felt,

really did feel like a reboot.

[Hendry] And this reboot was
made for kicking down doors.

Connery's leather sole brogues
never did that.

Looks like you're out to get me.

I'd love to see him
against Sean Connery.

I don't know
how that fight would end.

Everybody's performance

stands on Sean Connery's
shoulders.

But Daniel Craig owns the screen

as James Bond

in a way that I never thought
I would see again,

where you could break free
of the past,

where I could be looking at
the character of James Bond

like I'd never seen
a Bond film before.

Congratulations.

There's always a lot
of debate about which actor

comes closest
to Ian Fleming's interpretation.

G'day, mate.

[Hendry] Maybe George, maybe.

[Edlitz] Daniel Craig
and Timothy Dalton

are often considered
the closest,

and that might be
because Fleming's Bond was...

They were serious tales

told for serious people
of an adult nature.

It doesn't bother you,
killing those people?

Well, I wouldn't be
very good at my job if it did.

[Hendry] Craig's success
was a massive vindication

of Barbara Broccoli's
insistence

to cast
a relatively unknown actor.

And all those concerns

that Daniel Craig
wasn't sexy enough.

In the Daniel Craig era,
things change

from the libidinal-based
sexual masculinity

that all the Bonds
before utilized.

[Hendry] And when it came
to the box office...

Modest opening weekend.

It's not blowing
anybody's socks off,

but it captures audiences.

The word of mouth is excellent.

People keep coming back.

It is a big and growing hit.

[Hendry] ...Casino Royalehit the jackpot,

earning nearly $600 million
at the box office,

a record for the franchise.

Daniel Craig, that everybody
had their doubts about,

very few people
had their doubts afterwards.

[Hendry] Two years later,
in 2008,

Daniel Craig returned as Bond
for Quantum of Solace,

but this time critics
were less impressed.

I think there was very much
a sense that Quantum of Solace

was a bit
of a missed opportunity.

Not a very good one, is it?

[Hendry] And despite
a bigger budget,

- the box office was...
- Down.

[Hendry] ...so the pressure
was really on

for the next installment
to perform.

We're both played out.

[Chapman] I think
they really wanted

to get it right with Skyfall.

[Hendry] Fortunately, this time
producers hit the mark.

Skyfall became
the biggest grossing

Bond film of all time.

[Hendry] But in 2016,

nine years
into his run as Bond,

Daniel Craig made
a major misstep

when promoting
his fourth film, Spectre.

Now, the press asks him,
"How do you feel?

"You just finished this run."

And he famously said,

"I'd rather slit my wrists
than do another Bond movie."

But the press all excerpted
his next sentence,

which is, "I'm really tired
right now, and by tomorrow,

"I'm gonna wanna do
another Bond movie."

[Hendry] Years of
Bond-related injuries

had taken their toll.

He had torn a shoulder,
ruptured both his calf muscles,

and damaged his ACL.

He is an incredibly fit
human being.

Daniel Craig
is pushing his limits.

That, you know, shows up
on Spectre in a major way.

[Hendry] When shooting
is halted after Daniel Craig

injures his knee,

leaving the production
in doubt.

Means you're gonna
have to shut down production...

for weeks, maybe months.

And so Daniel Craig decides
he's going to, you know,

wrap that ankle up,
he's gonna take a few Advil,

and he's gonna continue on.

So, when you see Bond walking
along the edge of that roof

with the Day of the Dead parade
going on behind him,

that's acting,

to make that look good.

Not show any sign of that pain.

[Hendry] It would take him
five long years

to come around to the idea

of playing Bond a final time
in No Time to Die.

This would be
no ordinary Bond film,

dealing with themes of love,
loss and time.

The title design was crucial
in introducing audiences

to the themes of the film.

I kind of referenced On Her
Majesty's Secret Service

because that had an element
of time passing in it.

Obviously, No Time to Die
has "Time" in the title,

and it is about time,
it's about time that's passed.

Bond's time as a secret agent
has passed.

It kind of brings together
so many different elements

and I hope it,
not in a confusing way,

but people get a sense
of the history

of this amazing franchise
and amazing characters

going back over so many years.

[Hendry] And the filmmakers took
all the time they needed

with No Time to Die.

Truly, truly sorry.

With it clocking in
at a mammoth

two hours and 43 minutes
running time.

It's a long movie.

It's a very, very long movie.

But I gotta tell you,
that audience

is just sitting there quiet,
in the most respectful way.

You could feel
the tension in it

at the end of that movie.

I know.

And the use of We Have All
the Time in the World

at the very end.

Yeah, I knew a number of people
who teared up.

[Hendry] Was James Bond dead?

Audiences had every reason
to believe

that the franchise was over.

There was every reason
to believe

that they were not gonna
include the title card

that's been
at the end of Bond films

since the beginning.

They included that title card.
Bond is coming back.

What form? What fashion?

I don't know.

This is a big jump.

You know, Daniel brought to it
a kind of gravitas.

He brought to it
a more complicated,

troubled Bond.

So, the question is
where do you go from here?

[Hendry] Since 1962,

when James Bond
strolled onto the cinema screen

and hit us
right between the eyes,

it didn't take long
for Bond to find its way

off the screen
and into popular culture.

[Caroline Munro] It still is huge.

It never ceases to amaze me
how big it is,

after all this time.

[Hendry] The world's first
blockbuster franchise

is showing no signs
of slowing down.

But the question is

why is James Bond
a cultural phenomenon?

What can I say? I was a boy

growing up
in Montgomery, Alabama,

and you wanna know what this
magical, adult world is like.

Sensuality
and exotic locations.

James Bond was a window

into what I thought
that world might be.

[Hendry] And it doesn't matter
where in the world,

or really when.

James Bond and the ideals
he represents

are now generational.

Everyone's got
their favorite Bond.

I think a lot of it depends
at your age

when you saw your first Bond.

The first time I saw Bond
was with my mother, in 1962.

[Chowdhury] As a young child
of six-years-old,

I saw it in August, 1977,

and I've still got the hairs
on the back of my head

when I see that sequence now.

[Hendry] No matter
who was your first Bond,

- Connery...
- I have no objections.

- ...Lazenby...
- I understand.

- ...Moore...
- Yes, sir.

- ...Dalton...
- Shaken, not stirred.

- ...Brosnan...
- Hmm.

...or Daniel Craig.

Peter Sellers
is James Bond.

[Hendry] Oh, I'm not sure
that one counts.

Whichever Bond is your Bond,

they've all been in the same
decades-long adventure,

with more twists, turns,
heroes, villains

than any of the Bond movies.

From Fleming himself...

Everything he did
in the literary world

was larger than life.

He was a fascinating person,

an amazing character.

He loved to laugh.
He loved to host and entertain.

And he was a great writer,

and a very
under-appreciated writer.

People think the Bonds
are just fun and fast,

but he's a brilliant writer.

You would've loved
to have lunch with him.

[Hendry] At the usual spot,
probably.

To the original producers,
and specifically Cubby Broccoli

and his family,

who are the custodians
of the Bond name

today and into the future...

[Andreas Wisniewski] It's quite incredible

how they have
a sense of balance

between tradition, what to keep,

and what to change
and adapt to new times.

The world's moved on
since you retired,
Commander Bond.

- Perhaps you didn't notice.
- No, can't say I have.

[Hendry] ...to the
hundreds of us

who over the decades
have played our part

in the James Bond legacy.

We were very passionate,
we were very fiery.

There's blood on the carpet.

We all cared deeply.

That's how it ought to be.

I enjoyed every minute of it.

I'm so lucky.

I'm more than lucky.

I admire your luck, Mister...

- Bond.
- James.

Bond.

I'm humbled, truly humbled.

And even though we all know
how a Bond movie ends...

You always know
that he is going to win.

You know that in every fight
he's gonna come out of it.

But you still get tense.

It's amazing, really.

[Hendry] We can always count
on Bond for one simple thing.

You know you're gonna have
a great time.

As simple as that.

[Serena Scott Thomas] We've got
to have him jumping off a cliff

or out of a plane.

[Campbell] You're gonna get
a hell of a ride.

You're gonna get
terrific action.

There's gotta be
beautiful women.

Strong women.

Gotta be a bad guy.

There's gotta be a threat
to the entire planet.

To me, it will always be
a tried and true franchise.

An amazing tried
and true franchise, really.

Can't wait to see the next one.

Would love to be in it.

[Hendry] The James Bond
franchise is...

Fantastic!