一切或一无所有：007不为人知的故事

没字幕好可惜，我也是一边看百度贴吧那位的翻译一边啃完的.....

英语字幕死活也没找到，倒是有各种西班牙语希腊语法语德语的................._(:зゝ∠)_

但是无意间翻到了一个本片全对白的文字文档，比贴吧那位朋友的听译更准确一些，提供给想做字幕的盆友参考...........

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As a child I remember my
first exposure to Bond.
Transporting you, taking you to this wonderful place,
with extreme situations.
James Bond doesn't really like to look back.
We know very little about his past.
How did he end up being where he is and the way he is?
Fleming put his own struggles on the page.
This is fifty years now and they've kept it going.
It's unique within movie-making.
On a number of occasions, I think Bond would have died
away and we would have lost it.
In the face of overwhelming odds, he finds a way.
(AIR-RAID SIREN)
SIR CHRISTOPHER LEE: Ian was a great patriot.
Staunch defender of Britain. He knew what evil and
villainy were and what they stood for.
SIR WINSTON CHURCHILL: Long live the cause of freedom.
God save the King.
LEE: I knew Ian. He was a distant cousin.

I knew about his wartime work. His involvement in what
was known as black operations.
So that really does mean a license to kill.

JOHN PEARSON: Ian was a Commander for the Royal Navy.
Although he wore a naval uniform, he spent the whole
of the war stuck in room 39 at Naval Intelligence.
He was a desk sailor.
He never really saw any very close action.

He'd have loved to have been a hero at the head of what he
called his Red Indians.

Ian created this intelligence-gathering commando unit
and they went off rampaging and rushing across Europe and digging out
secrets and finding adventures.

LUCY FLEMING: My uncle knew about spies.
The experiences that Ian had had during the war
and the people he'd met, particularly the people he'd met
who were very brave, very adventurous,
rather shocked his imagination.
Cooking away in his head.

IAN FLEMING: People like to read about heroes.
Espionage is regarded by the majority of the public
as a very romantic affair. A one man job.
One man against the whole police force or an army.
LUCY FLEMING: Just after the war,
I think he lost his way.

He said his mental hands were empty.

PEARSON: I'd been working for The Sunday Times.
I met this very charming, slightly alarming character
who was Ian Fleming.

He really hated his job.
It was a very dreary place and I think the boredom was part of this
depressive character which he had.
FIONN MORGAN: I lived with him from the time when I was fifteen.

Real melancholia comes from within.
Ian could have been melancholic on a lovely day.

PEARSON: Sometimes you'd see his eye wandering to the far wall
and there was a very, very faded rather
boring looking print of Montego Bay.
He'd escape from the mud of The Sunday Times
into the cream and that was his dream.
Goldeneye, it was the ultimate romantic hideaway.
He came alive once he got there.

BLANCHE BLACKWELL: He had come to Jamaica in 1942.
He said "If I live through this war,
"this is where I'm having my home."
Goldeneye was most beautiful.

A huge vine with masses of humming birds, looking down
onto a wonderful view of the beach.
And he loved to swim.
Colorful fish. Angel fish, sharks and barracudas.
I had to hold on to his feet
so that the tide didn't take him away.

He was full of query.
You could see him observing everything.
He was just like a little boy really.

LEE: Ian was not averse to the company of the ladies.
Quite a lad to put it mildly.

BLACKWELL: The first time I met him, he came up to me
and said, "I hope you're not a lesbian."
And I was kissed, rather passionately.

PEARSON: But Ian was a man of infinite
contradiction. A drink was never good enough.
Women were never satisfying enough.
He discovered the Bond motto
which was "The world is not enough,"
which could have been written specially for him.

LUCY FLEMING: I think he just needed to know what his
mission was. He'd needed something to do.

CHURCHILL: An iron curtain has descended
across the continent.
With the Cold War, Ian now had another war on his hands.

The Russians have behaved in a very villainous
way since the war.

PEARSON: Ian had no illusions about the Russians.
We were up against a very, very dangerous enemy.
IAN FLEMING: Tricks of torture and violence are what
the KGB gets up to now in Russia.
PEARSON: It prompted Ian to action.
MORGAN: That was the absolute making of it.
Building up to this that timing was right
and Ian was ready.
SIR CHRISTOPHER LEE: James Bond could be
the perfect protector of the helpless and the innocent
against evil.

PEARSON: And Ian said, "I'm going to write the spy thriller to end
"all spy thrillers."
BLACKWELL: He wrote in a corner of Goldeneye
and shut the shutters so that he could concentrate.
MORGAN: He'd found what he could do,
then he flew.
PEARSON: Very fast. Two thousand words a day,
on a golden typewriter.
Short sentences.

LUCY FLEMING: Sentences like "Bond's gun spoke once."
"Never look back." He said,
"If you look back, you're sunk. Just keep writing.
"The story is everything."
PEARSON: The way he put facts together. The way-out fact, the interesting fact,
which are the work of a very clever journalist.
MORGAN: He could write.

PEARSON: Like an addict, he'd found a perfect recreational drug.
Bond could be what he couldn't.

LEE: Every man wants to be infallible. Every man
wants to win. Every man wants to get the girl.
Every man wants to be number one.

PEARSON : He gave Ian the chance to see things through
a new pair of eyes.
Everything was suddenly exciting again for him.
A sense of life renewed.

Bond was his solution. His therapy.
Depression and self-doubt and all the other miseries which afflicted him.
Bond always beat his demons.

He gave one description. Bond is looking in the mirror.
The dark hair, the high cheekbones. The same height, the same build.
It was Ian's alter-ego.
Bond was Ian.

His first book, Casino Royale,
it's almost a confessional really
of what he is, what he wanted.
Sadism, sex. All the secret unspeakable things he desired.
It was an autobiography of a dream.

IAN FLEMING: When I started to write these books, I wanted a really flat
quiet name, and one of my bibles out here
is James Bond's Birds of the West Indies.

And I thought, "Well, now James Bond, now that's a pretty quiet name."
And so I simply stole it and used it.

I was Ian's literary agent.

I thought not only is this a very, very well-written book,
it broke a whole lot of new ground.

FLEMING: There are many different kinds of thriller
writers and many different kinds of thrillers.
I try and thrill the reader right down to his taste buds.
LUCY: Ian had seen Bond very clearly as a film character.
He thought they would make good films.
JANSOM-SMITH: He knew he'd created something that ought to succeed.
IAN FLEMING: I was just on the edge of getting married
and I was frenzied at the prospect after having been
a bachelor for so long
and I really wanted to take my mind off the agony.
LUCY: Ian's wife, Annie, didn't approve
of the books, and didn't want Casino Royale to be
dedicated to her 'cause she thought it was filth.

This struck me as a monstrous piece of work, certainly a very bad novel indeed.

The crude sadism, the disgusting sex,
women who could not restrain themselves from
getting into bed with him at the slightest opportunity.

And, at the same time, snobbery.
Not even the snobbery of a proper snob.

It's a snobbery of an expense account man.

And I was so disgusted by it.

JANSOM-SMITH: The public weren't ready for this. These books were
ahead of their time.

PEARSON: He went through a period when any attempt to get films made
failed lamentably.

One moment of despair with Bond.

He mortgaged off the rights of Casino Royale but for next-to- nothing.

NARRATOR: And now, Casino Royale.
Oh, you're a legend, old boy. "Card sense Jimmy Bond", they
call you. My name's Clarence Leiter.

BOND: I didn't know I had that much of a reputation.

LEE: The Americans, if you told them you were going to make a story about a
British secret service agent, they said, "No, no,
"he's got to be American."
JANSOM-SMITH: Jimmy Bond. That was dreadful.
Jimmy!
He was disappointed that the film industry was so stupid.

LUCY: Sometimes he just wanted to stop.
The fact that he did keep going,
it says a lot about him really.

JANSOM-SMITH: Already you feel this is a man who's going to push himself to the limit.
LUCY: The big question was whether Bond could survive, and would
survive. Who would protect the Bond character and make sure
it made the big step into film?
Was it actually gonna work?
Everybody would call him Cubby.

Very few people would say "Mr. Broccoli."
You're familiarly known as Cubby.

Yes.

How did you get that name?
Harry Hershfield, who was a cartoonist had a character
called Abie Kabibble.
When I was going to school, they called me Kabibble
and then down to Cubby.

BARBARA: It was such a friendly nickname.
Such an open, cuddly name that I think
it encouraged people to approach him.
And Broccoli, is that anything to do with the vegetable?
BROCCOLI: Yes. My family, they brought the vegetable to America.
That story goes back a few years.

BROCCOLI: My father believed you could achieve whatever you wanted to.
Whatever you desired. If you worked hard any dream was possible.

Cubby came to Britain to start making movies in 1952.

Britain and Cubby were made for each other.

He loved the British and their sense of humor. Their whole lifestyle.

BROCCOLI: When you look at the films Cubby made in Britain, they were mostly
escapist action adventures.
He wanted to take people out of their lives,
transport them on an adventure to something magical.
He would love going out on to a location very early
and watch, as he put it, the circus arrive.
The tents are unfolded,
and the makeup and the actors. That was his big thrill
WILSON: Cubby was always captivated
by the Bond books.

Inspired by the way Bond thinks, the way he acts, what drives him.
BROCCOLI: As soon as he read them, he immediately knew that he
wanted to make them as films.

He was very excited. He set up a meeting to talk Ian Fleming
into giving him the rights.
Unfortunately, at the same time, he had the terrible
news that his wife, Nedra, was diagnosed with cancer.

Cubby couldn't make the meeting so he sent his partner.
He's a blow-hard, this guy, and he said,
"Well, I don't think that the Bond books would make films. They're more television."
He ended up insulting Fleming.
So it didn't work out.

It certainly was the lowest point of his life.
His wife, Nedra, died and he had two young children.
He was widowed.
And the dream that he had of making the Bond films was over.
MORGAN: Producing these books got harder for Ian.
It became a strain.

This Bond thing, it was almost too much for him.

SMITH: He was finding it very
difficult to think of new plots.
He was worried and he was tired, and it was hard work.

SMITH: Bond became what he described as this cardboard booby.
Time was ticking by. Ian was rapidly becoming drunk.
Certainly drank far too much. He was a deeply addictive person.
Benzedrine, dark brown scotchs every night
and seventy Moorland cigarettes a day.
MORGAN: Ashtrays absolutely overflowing with cigarette stubs.
And these very large bottles of phensic pills
that he gobbled down because of his terrible headaches.

SMITH: Ian had really hit rock-bottom and didn't know where to take Bond.
He was desperate to find someone who could save the day.
Circus Circus proudly presents the flying ...

Everything with Harry had to be larger than life.

He was a showman. He started off in the circus.

My father grew up in all the feathers and the make-up.

He was a man who loved to entertain.

My father had original dress sense and he liked the
primary colors.

Yellow, red.

Little banana suits with matching yellow hats.

And also matching socks. He said, "Don't want anyone to miss me."
HELEN SALTZMAN: He had an extraordinary imagination. Great ideas.
SMITH: They just came out of him, one after another.
HELEN SALTZMAN: He never shut off. He was always thinking, always creating.
He didn't want to miss any opportunities.
He had one phone in one ear, one phone in the other ear.

And he was talking into one of them in French, cause he's French-Canadian.

Then the third phone rang, he was like, "Where do I put it"
"I need a third hand."
The whole thing was like a comedy half the time.

He was amazing.

HELEN SALTZMAN: He wanted to present something to the world
that had never been heard of or seen before.

ST. JOHN: Everything Harry did, he did for Jackie.
HILARY SALTZMAN: He drew my mother money,
and things that he planned one day to be able to afford her.
STEVEN SALTZMAN: She'd open up a scrapbook and
in it would be pictures of her trousseau of jewels.
For now it's a drawing, the next time it will be
a reality.

HILARY SALTZMAN: He wanted to be hugely successful for her
and that's why he was desperate to get the rights to the Bond films.
HILARY SALTZMAN: He loved those books. He would re-read them all the time.
He had such faith in it that he paid Fleming for the rights.
He'd bet every last penny on James Bond.
But now, he couldn't raise the cash to make these films.

STEVEN SALTZMAN: He had debts. He was up against the wall.
HILARY SALTZMAN: He had a goldmine that he couldn't dig up.
WILSON: Cubby was courting my mother.
We sat down and I said, "Do you know what you're getting into,
"because she's a very headstrong woman?"
And he laughed. He said, "Are you trying to talk me out of it?"
I thought it was fantastic.
It was a perfect match.
Anyone who makes a film always is an optimist. Cubby always said that.
HILARY SALTZMAN: A friend of Dad's said, "You know, what is it you wanna do?
"What do you really wanna do?"
And he said, "I wanna do James Bond."
This friend of Cubby's, he said, "Well, I know a guy, Harry Saltzman.

"He's got the rights. He's got an option. Why don't you go talk to him?"
And that's how he got involved with Harry.
MAN ON PA: The countdown is four minutes and counting.
There was a huge deadline problem.

MAN ON PA: Remain on standby.
My father just couldn't get The studios behind him.

He was down to the last days before his option stopped.
STEVEN SALTZMAN: Time was running out for Harry
and Cubby had the Hollywood connections to help make a deal.
HILARY SALTZMAN: Cubby and Harry formed their company called EON,
Everything Or Nothing.
There was never any middle ground.
It was always, "Give it everything you got."
BARBARA BROCCOLI: Both of them knew what it was like to be down in the dumps.
And I think they just went for it.

WILSON: They got on a plane, went to New York City to convince Columbia.
First place was Columbia 'cause that was Cubby's home.

They turned him down.

And then United Artists. We had a phone call from Harry
and Cubby saying they wanted to meet with us.

So we faced each other.

They said we had to spend somewhere over a million.
And in those years that was a serious budget.

It was a risk.
That was a big moment for me.

One million bucks.

PICKER: An enormous decision.
We said, "Okay."
I was very excited.
They'd made a deal with United Artists and they were in business.
I couldn't believe our good luck.
It staggers me to this day that Columbia passed.

But they did and we got 'em.

SMITH: He was delighted
that at last Bond is on the screen.

LEE: Ian, without Cubby and Harry,
would have been another writer who wrote entertaining books.
James Bond could have been a comic book character and never become a film.

But, on the other hand,
when Ian was first told about the casting of Sean, he didn't agree at all.
He was quite acid about it, as a matter of fact.

United Artists also had a feeling
that it should have been an American star name.

With Sean Connery, they were against it.
Normally the question from the distributors is "Who is gonna play in it?
"Cary Grant or James Mason?"
And when you surprise 'em by telling them you want an unknown,
they were not entirely sold.
CONNERY: I left school when I was thirteen.
I worked as a laborer, and steel-bender and fixer, and delivered coal.
LEE: Bond was not an overgrown
body-building muscle-man or words to that effect.
BROCCOLI: He and Harry knew Sean was the guy.
When they were told by the studio, "Keep looking," they went to bat for Sean Connery.

They did fight for him.

WILSON: By casting this diamond-in-the-rough type of person,
really they wanted to make him into an American style hero.
An anti-hero that you could sympathize with.

JUROE: And when women were shown the screen tests, they all reacted.
BOND: I admire your courage, Miss, er...
Trench. Sylvia Trench.
Dad was always very interested in my mother's opinion.

He said, "Is he sexy?"
My mother said, "Yeah. Are you kidding? He's very sexy."
That clinched the deal.

I admire your luck, Mr....

Bond. James Bond.

JUROE: Here you had this punk,
the very ballsy, masculine British actor which was almost a contradiction in terms.

BROCCOLI: He could make love to a woman and turn around
and kill someone in the next second.
I mean, there are not many people able to do all that.
Just as things were getting interesting.

And you could believe that when that girl jumps into bed with him,
that she really would have.

JUROE: The transition of a successful book into a film
is fraught with danger at every turn.
PICKER: We agreed Doctor No made sense.
And then it came down to who was gonna direct the first movie.

If they'd chosen the wrong director, that would have been the end of it.

All right, give it go.

I knew that Terence would make a good action picture.

He had been a tank commander in the war so he had a lot of courage.

All right, here we go now. Action!
PICKER: He had the style, he had the clothes. He had the look.
He saw himself as James Bond.

CONNERY: Terence set the style of it.
Then he took me in hand and knocked me into shape with his tailor and the gear.
JUROE: Terence Young took Sean Connery and made magic.
Bloody good.

CONNERY: We shared a similar sense of humor.
I think they were on their way to a funeral.

PICKER: I mean, Terence was a hoot.
The choice of Ken Adam to design the movies was crucial.
Ken found a way to capture on film
what Fleming had written on paper.
Like Terence, I was also a little crazy with courage.

I was a fighter pilot.
It was a very dangerous pastime, diving 600 miles an hour on German tanks.

You have to be slightly crazy.
The sixties was like a revolution in England.

An enormous rebirth of the arts.
We wanted to do away with all the shit.

Get rid of any restrictions and let ourselves go.

I started scribbling, then suddenly something happened.
It was like having an orgasm.

The fact that it worked, for me became real.
The key will always be in the script.

If the script isn't right, there is nothing that the best director can do.
PICKER: Richard Maibaum was a first-class screenwriter.
DR. NO: That's a Dom Perignon '55. It would be a pity to break it.
I prefer the '53 myself.

(SCREAMS)
HILARY SALTZMAN: Everything needed to move and be big and explosive.
STEVEN SALTZMAN: Action, action, action.
HILARY SALTZMAN: And non-stop story-telling.
STEVEN SALTZMAN: And then there was Maurice.
The design of the 007 logo, the whole barrel.

The whole opening sequence.
The key pedestals of the James Bond movie was his work.
HILARY SALTZMAN: Ian Fleming's themes of sex, the themes of death, he embraced in his art.
BROCCOLI: And that big Bond music... Sexy, brassy, adventurous.
John Barry created something completely new. A completely new sound.

STEVEN SALTZMAN: Give it size, give it style, and give it class.
That's what we did. That was the fun of it.
BROCCOLI: It came down to the team.
All these great, talented people.
And that's when the James Bond family really began.
They went off and made their movie
and when it was finished they delivered it.

BROCCOLI: When Doctor No was released,
it came at the same time as the Cuban Missile Crisis.
STEVEN SALTZMAN: We were all facing disaster.
That resonated on a lot of people's fears and anxieties.
Whether it was the right place, whether it was the right time...

JUROE: Kennedy even commented,
"I wish that I'd had James Bond on my staff."
Fleming had created a character Kennedy could relate to.
LEE: Kennedy's endorsement...
I mean, what more could you ask for?
If it's good enough for the President, it's good enough for me.

NEWS REPORTER: Washington... The President said he was entirely satisfied...
That makes two of us.

ADAMS: When Bond came out, the world was very gray. It was black and white.
Here you get this film, highly colorful, filled with flash and bang.
It was an escapism, a chance to see great places and to leave their dreary lives.
We make the first, it works.

In making the second, we knew we had something going.

By Goldfinger we had a cultural phenomenon.

JUROE: It was absolutely magic, what was happening.
There was screaming, there was yelling.
You couldn't believe the audience reaction.
STEVEN SALTZMAN: Champagne, adventure.
And all the sexual fantasies of the healthiest virile bachelor.
JUROE: They were so transported by the magic that was Bond,
they had reaction completely out of self.
PICKER: We started to play the picture 24 hours in a day.
That's how successful these Bond pictures were.
I must be dreaming.
JUROE: If there ever was the goose that laid the golden egg,
that was the James Bond franchise.
NEWS REPORTER: The films have already made a profit of nearly $120 million.
Huge sums of money.

My father was very, very proud of that.
HILARY SALTZMAN: He was in his glory.
He produced his life the way he produced his movies.

Anything you wanted, anything you could have.
Buying my mother the finest things possible.
STEVEN SALTZMAN: I would go to school in a Rolls.
The fact that you had a home with swimming pool on the first floor,
I didn't know a different life.

HILARY SALTZMAN: We had a fantastic childhood.
All these extraordinary people coming and going.
Joan Collins, Roger Moore and Michael Caine.
A girlfriend came to my house and fainted
because of the people that were in our living room. She couldn't handle it.
STEVEN SALTZMAN: The two families were very close.
HILARY SALTZMAN: And we were like brothers and sisters.
At weekends, either at our house or their house.
We lived like one big circus family.

JUROE: Cubby and Harry could do no wrong.
They worked very well together. The perfect team.
And from that point on, there was no looking back.

? He loves gold! ?
PEARSON: The success really did come too late for Ian.
Just as the films were taking off,
he had this terrible ordeal of the High Court action by a man called Kevin McClory.
A ghostly figure from his past.
Before he'd even met Cubby and Harry,
in the days when he still despaired with film,
Kevin had charmed Ian to collaborate on scripting
an underwater Bond adventure which would be the genesis of the film Thunderball.

JUDY GEESON: Kevin's life was cinematic in itself.
Right out of the Bond world.
Everyone wanted to be around him because life was fun.

MCCLORY: I sat with Ian Fleming and I said,
"You create incredible character for the screen."
Ian was very taken in by him.

They were helped by a screenwriter called Jack Whittingham.
They met up in the Bahamas, the three of them,
Fleming, McClory, and my father.

SMITH: Tossing ideas around for an original film script.
I can very well understand, since they'd probably all had several drinks,
that the next morning it was very difficult to decide who thought of what.

And, of course, the whole thing fell apart.
Kevin McClory sued Ian for plagiarism.

SMITH: Ian, most stupidly, used the plot for the book of Thunderball,
which laid him open to the charge of having pinched McClory's central idea.
MALE ANNOUNCER: This is BBC Television.
And now here is a special announcement.
It was a great shock to me to hear at lunchtime today
that Ian Fleming was dead.

He came into my life through Doctor No and From Russia With Love .
And, strangely enough, when I first met him he wasn't somebody I particularly liked.
But as I got to know him better I grew to like him immensely.
I realized that he was a shy person, a rather withdrawn person.
In fact, he's the all-time reluctant success.
And I went into my room and wept.

I then thought there'll never be another Bond book.

SYLVAN WHITTINGHAM MASON: The court case with Kevin McClory was very bad for him.
PEARSON: Kevin won.
Ian's deep sense of injustice
suggested Bond no longer belonged to Ian but to him.
BLACKWELL: Very stressful.
And that's what caused him to have the heart attack.

PEARSON: Bond had helped kill him.
You create this monster and the monster ends up by destroying you.

There was the very moving occasion
when he was asked to describe fame and success.
"Ashes, dear boy, ashes."
JUROE: Ian Fleming assured Harry and Cubby
that they had nothing to worry about with Thunderball
as far as Mr. Kevin McClory was concerned.
It turned out to be a little bit different.

Kevin did believe that Bond was his.

And he wasn't gonna give it up.
STEVEN SALTZMAN: Dad believed in '65 that Bond was, in fact, here to stay
a very, very long time.
Depending on who makes the films, their lives, the measure of success.
The court case gave him the rights to film Thunderball .

And he tried to make Thunderball himself.
WILSON: Cubby and Harry did not want
Kevin McClory making an independent Bond.
It sabotaged the whole phenomena, killed the golden goose.
BROCCOLI: It made sense to try and bring him into the fold.
WILSON: So they got together and made a deal with Kevin.
One of the provisions was that Kevin McClory would be the sole producer.
And Saltzman and Broccoli were the executive producers.

Do you think they'd let this guy come in off the street and be a producer
if there wasn't a situation that could not be avoided?
BROCCOLI: Despite all these problems, it was an incredibly successful film.
It was the most successful Bond film to date.
At the end of the making of Thunderball,
the expectation was that that was the end of the involvement with Kevin McClory.
But they made a mistake. The writing was on the wall.

Kevin McClory was given the rights, after a certain period of time,
to remake Thunderball.

That was the brilliance of what McClory did.
And therein you can lay all of the problems that came later.

BILL CARTLIDGE: When you get invited to do a Bond film,
you're already on this bandwagon of success.

(SPEAKING JAPANESE)
CARTLIDGE: The only thing that can go wrong is if you mess it up.

I must insist that you don't say anything until I give you instructions.

JUROE: As the saying goes, you're only as good as your last movie.
The biggest challenge in the creativity is to do something never seen before
that makes it more unique and that is a very, very difficult thing to accomplish.

When we did You Only Live Twice, taking a unit into a place like Japan
was very difficult in itself.

Bond was so big in Japan.
CARTLIDGE: We couldn't shoot on any locations whatsoever
without attracting the most enormous crowd.
Something in the region of 400 journalists.

GILBERT: It got out of hand.
Sean couldn't move anywhere.
It was impossible. Somebody spotted him and he disappeared.
CARTLIDGE: They were nearly tearing the clothes off his back.
CONNERY: Never been so pressurized in my life.
It's the invasion of one's privacy
and you get some real head-cases that come round.

Now he's an actor. He's here to do a job.

He's here and he has not been given the privilege and respect
in Japan for a certain amount of privacy.

We will not co-operate with them if they're gonna do this.

CARTLIDGE: Cubby did his very best to protect Sean.
The truth is it was almost impossible.
GILBERT: He went to the loo one day.
Got himself on the toilet, looked up, and there was a guy
with a camera looking down on him.
And Sean came out, furious.
And after that, I think he really had had it.
The fame got to Sean, there's no doubt about it.

ADAMS: Some people have difficulty with success.
Sean was very money conscious.

He always felt he was being exploited.
JUROE: He agreed to an amount of money but always felt he was not paid enough.
CONNERY: I know exactly what it is to be without money.
I know exactly what money is to me.
It got personal.

CONNERY: I dislike intensely injustice.
The producers were frightfully greedy.
JUROE: Sean's fight was with Saltzman first and Broccoli second.
Harry was not the diplomat.

HILARY SALTZMAN: He wasn't very good at relationships.
He used to steamroller people.
JUROE: He would suddenly blast out, yelling at you.
And his eyes would get so angry. I mean, they would just bore into you.

I could never take him seriously.

Sean took him seriously.
ST. JOHN: Sean disliked Harry and the feeling was mutual.
Harry considered that they'd created a monster.

CARTLIDGE: It got so bad, we're doing a scene,
there was atmosphere quickly on the set
and Sean suddenly comes to a stop.
He just stood there and didn't say a word.
I glanced to my left and there was Harry.

Sean told Harry Saltzman that if he ever walked on the stage,
he would stop work and that's exactly what he did.

REPORTER: 007 himself
is hanging up his shoulder holster and calling it a day.
I'm ready, in myself, to make a change of direction.

REPORTER: So this is your last Bond film?
Yes.

And the next thing you knew, they came in and said
he wasn't gonna do the last picture in the deal.

And that did not make us happy.

What would you think? Your leading man is gone
and here, the series was jeopardised. That's not good news.

I thought it was very bad judgment on their part.

The fact is Cubby and Harry renegotiated
their deal with us, several times.

They were keeping themselves happy but they weren't keeping him happy.
He didn't like it and I don't blame him.

JUROE: Saltzman and Broccoli
intuitively felt Bond didn't depend on Sean Connery.
James Bond was bigger than the actor who played James Bond.
He won't be the last one under any circumstances, all due respect to Sean,
who I think has been certainly the best one to play this part.

This won't stop us from making another Bond
'cause there's an audience out there who wanna see it.

PICKER: Sean was gone, he was out,
and we had to get somebody else.
Goodbye, Mr. Bond.

That was the challenge.

How could we save the series?
POLICE OFFICER: Well, at least he died on the job.

He'd have wanted it this way.

LAZENBY: When the Bond thing came up,
the odds were I'd get it, because I wanted it more than anybody else.
I was a country boy, 22 years old.
I took this girl that I really fancied to see Doctor No.
And going in I think I had about a ninety per cent chance of
getting lucky afterwards
and coming out I had about a twenty per cent.

But here's this guy who can get any girl he wants,
kills people who gets in his way...
Jesus, I'd like to be that guy. And that's when it started.
I had nothing on my mind,
night and day, except getting that job.
I wasn't an actor. I want that job, though.

So I went off and I got a suit that Connery didn't want.

Where were you measured for this, bud?
My tailor, Savile Row.

I got a Rolex watch,
I went to Connery's barber.
PUSSY GALORE: You like close shaves, don't you?
LAZENBY: All I had to do was get past this feisty female at the desk.
And I waited outside the door.

As soon as she bent down behind the desk. I went "shoom,"
and I just bolted past her and up the stairs.

And she's going, "Wait! Hey, come back here!"
But it was too late, I was already up the stairs
and leaning on the door saying "I heard you were looking for James Bond."
Harry says, "Where have you acted? 'Cause we've never heard of you."
I said "Well, I was acting in Germany, in Russia,
"Czechoslovakia. Oh, I did a film in Hong Kong."
Every place I thought they couldn't check on.

Harry was impressed. "Can you be here at four o'clock tomorrow?"
I was so scared. I'm thinking, I'm way over my head with these guys.

The director was cheesed off, I could tell.
He's looking at me, he said "Okay, tell me what you've done."
And I don't know what made me do this but I said, "Peter,
"I've never acted before."
Well, he was stunned. Then he started laughing,
and I said, "Why are you laughing?"
He says, "Well, you tell me you can't act,"
he said, "You've fooled two of the most ruthless guys I've ever met in my life.

"You're an actor."
He said, "Stick to your story, I'll make you the next James Bond."
Peter said, "I wanna test him," and then they took me out to their place.
Went on for four months, the testing.
They said, "Can you swim?"
I dived in and I came up at the other end.
'Cause I'd seen Connery was swimming underwater,
and I was showing 'em I could do it for real without that little thing in my mouth.

And then they took me out horse-riding.
"Can he ride a horse?"
Well, I rode the thing round the paddock until it ran out of steam.
And Harry and Cubby were so concerned about my sexuality
because I'd been a male model.

They did send a girl up to my apartment.
I think after that they realized that I was straight.

United Artists wanted to see me in a fight scene.

I wasn't afraid of doing fight scenes,
I'd probably had a couple of hundred,
being brought up in Australia in the bush,
every Friday night you'd be punching somebody,
just for fun.

Your blood runs a bit.

I chinned him.

He fell on the floor.

And Harry grabs me,
and he says, uh, "We're going with you."
BOND: Gatecrasher.

LAZENBY: I can remember saying to myself,
"I'll never be broke again.
"I've got the job. Now whatever I want is at my fingertips."
I could go to any nightclub anywhere in the world.
They'd say, "Oh, here's James Bond. Let him through."
I'd get paid money just to show up.
They'd give me a helicopter to fly down to villages at night and take girls.
And a limo would be waiting where the chopper landed and we'd go off to dinner.

It wasn't difficult to get laid.

You'd get four or five girls a day.
For a young guy like me, it was spot on.

The monster side of you would come out.
I went into a gun shop and this guy sold me a Luger because I was James Bond.
I was throwing bottles up in the air and shooting 'em
and the crew kinda got a bit nervous.

I believed I could do anything.

I was drunk every night.
BOND: Sorry Madam
I was totally out of control.

That's when Broccoli and Saltzman started to worry about me.
Ronan O'Reilly was the guy who created Radio Caroline.
He took me under his wing.
He was anti-Establishment
and he could hurt the Establishment by taking me away from it.
He said, "These guys are monsters
"'cause they're just gonna use you and spit you out."
I felt that Ronan knew what he was talking about.
It was the hippy movement.
People were starting to think differently about life.
LSD was out there.
Most of us think the brain is us.

But the brain, to me, is like a muscle.
Your brain, that's something you're programed to be.

Ronan was opening my eyes. I was really under his spell.
He told me, once you get typecast as Bond, you can't get different parts.
People were going to 'Easy Rider', that was the big movie of the time.
There was hardly any young person that didn't have long hair.
And you can imagine how I felt walking around with short hair trying to get laid.

(CHUCKLES)
I looked like a cop or a waiter,
and people were "peace not war."
And Bond was about war.

Ronan had convinced me I wasn't gonna survive
and I was basically speaking "his" mind.

I grew my hair and had a beard for the premiere
and they said, "He's not coming like that."
They couldn't stop me.
I was not the way they wanted their James Bond to be.

Does this mean you've lost confidence in me?
I am well aware of your challenge, 007.

Sir, under the circumstances...

That's all, that's all.

LAZENBY: They let me go.
I'd blown my shot at being a big famous movie star.

I remember being at a party in Monaco
and Roman Polanski saying, "This is George, the redundant actor."
And I had to look up what "redundant" meant but I, I really...

I felt that I wasn't wanted anywhere.

For a long time I didn't know who I was.
I wanted to be James Bond.
But you couldn't live the way James Bond lives.

But it is the best book. That one caught me emotionally.

MASTER OF CEREMONIES: The bride and bridegroom, Mr. and Mrs. James Bond.

I'd actually cried at the end of reading the book.

It was a very romantic piece of writing by Ian.

PEARSON: The first really serious love affair in Ian's life was during the war.
It was with his naval dispatch rider, Muriel Wright.
I think he'd never met a girl quite like her before.
The archetypal Bond girl.
(MACHINE GUN FIRING)
It's Blofeld.

PEARSON: The awful thing was poor Muriel Wright was killed, a piece of shrapnel
from a German bomb.
Ian was absolutely heartbroken.
And always blamed himself for never having treated her better.
Full of remorse when one's behaved badly to someone one loves.

My God, you just killed James Bond.

Is that who it was? Well, it just proves no-one's indestructible.

Clearly the franchise was in trouble. We had one challenge.

PICKER: We said to Harry and Cubby, "We gotta get Sean back."
Sean wasn't about to talk to Harry and Cubby.

All right, let's get down to business.

"I'll make a two-picture deal with him. He can make any two pictures he wants.

"Any two. I don't care. They're approved right now.

"A million dollars each.

"And I will pay him a million, two hundred and fifty thousand dollars
"to do the next Bond movie."
Thank you very much. I was just out walking my rat and I
seem to have lost my way.

Having been away for four years, I think one had made the point too that the
lack of success of the one previous. The one that I wasn't in, anyway.

And coming back in to do this one, to make the conditions of
not being so much a pawn in the circumstances.
BROCCOLI: The public wanted Sean back.
I remember Harry not being thrilled that Sean came back.

BROCCOLI: Very difficult, because Sean had been publicly
acrimonious towards Cubby and Harry.
But in typical Cubby fashion, he tried to make Sean feel as comfortable as possible.
BROCCOLI: While Connery's in action, he seems very happy playing Bond.
But off-set he becomes gloomy.
CONNERY: No, I, I came back for the one, that was the understanding.

MOORE: I don't know whether it's a part of the Scots mentality, but Sean seemed
to hold on to a grudge.

MOORE: I was having a party. I asked Cubby and I asked Sean
how they'd not mixed at all from the time that Sean had left after Diamonds.
I wanted them to make up. It was sort of ridiculous.
Two friends, antagonistic towards one another.
Cubby was a sentimental man and he was very hurt.
He thought, "I found this guy, he was unknown, and
"gave him a job which made him a very rich man and he resents me. Why?"
We're back to the old thing of you resent the hand that feeds you.

There's old Albert. Now he's a croc.

Got over-careless with him some time back and he took my whole arm off.

Well done, Albert.

ST. JOHN: When Roger was being suggested as the next Bond,
Harry very much wanted him to be Bond and Cubby didn't.
And that caused a lot of problems between them.

BROCCOLI: Who fought more for him? I have no idea,
but whereas they had always been of one mind on the early
Bonds, I think now they started to have different ideas.

They started to depart from each other. There was a lot of friction.

And the strain began to show.

(MUFFLED LAUGHTER)
ADAMS: There was confusion as to the direction of the Bond movies.
There is a scene in 'The Man With The Golden Gun' when
they tried to make him look like Sean.

Ah! You're hurting my arm!
It didn't work at all, in my opinion. Roger is a gentleman.

ADAMS: He will charm women into bed. He didn't have to force his way around them.
The fear I had of saying "My name is Bond, James Bond."
People would say, "Oh, you're trying to imitate Sean," which I couldn't do.

There seems to be some mistake. My name...

Names is for tombstones, baby.

You all take this honky out. Waste him, now.

I suddenly had this panic attack. "God, what am I gonna do if
"they don't like it?" Personally, I loathed the violence. I am a pacifist.

Which is hardly the right background for somebody who's playing Bond.

For you, mister twenty bahts.

I'll tell you what, sonny, I'll give you twenty thousand baht if you can
make this heap go any faster.

Twenty thousand baht.

I'm afraid I have to owe you.

MOORE: I look back on that with absolute horror.
Roger Moore, UNICEF goodwill ambassador, knocking little Thai boys off boats.

BROCCOLI: The focus was divided and it affected the making of the films.
The result was, Man With The Golden Gun wasn't as successful.
It must have been very difficult for Roger.
Two producers, who he was very fond of, at war.

(SHOT FIRING)
ST. JOHN: Cubby didn't understand at all why Harry
was so determined to do other things.
He felt Harry didn't pay enough attention to Bond.
STEVEN SALTZMAN: There was a competitiveness between him and Cubby.
The way to be more successful than Cubby is to do more than Cubby.

JERRY: He wanted to be a giant. He wanted everybody to accept
that he was the king of the hill.
PICKER: Harry got into other businesses. Dejour Camera, Technicolor,
some real estate propositions and he even had a sausage factory.
ST. JOHN: He was writing cheques left, right and center.
Why? What'd he need it for? He knew nothing about the businesses.

He was in financial trouble and he knew it.

PICKER: The banks started to come after Harry.
And they called in the loans
and that's when it began to unravel.

And that's why he had to sell out.

That was terrifying for Cubby. Suddenly he had no
idea who his partner was gonna be.

ST. JOHN: The break-up of Harry and Cubby
took place in the Beau Rivage Hotel. And there were masses of lawyers.

I was a lawyer at the time and I took a leave of absence
to work this thing out for the family.

ST. JOHN: Documents going back and forth.
Cubby had wanted Harry to sell the shares to him
and Harry wouldn't sell them to Cubby.
Cubby took it very personally that Harry wouldn't sell to him. I mean,
how could you not?
STEVEN SALTZMAN: There was hostility, litigious hostility.
United Artists bought Harry out. It was the only way Harry could get out.

UA became Cubby's partner.
BROCCOLI: Once Harry sold to UA, the fate of Bond was tied to the fate of the studio.
ST. JOHN: When it was signed, about 4:00 in the morning,
there was certainly no celebration. It was very sad.

Everything changed in a moment. This lifestyle, this
extraordinary bubble, just suddenly burst.
STEVEN SALTZMAN: My mother had to sell her jewels.
She had a beautiful sixty-nine carat diamond solitaire.

A James Bond ring. And I remember her taking her ring off and giving it to
Harry and saying "Diamonds aren't forever."
Then my mother got sick. No amount of money could fight cancer.

STEVEN SALTZMAN: My mum got sicker and sicker.
HILARY SALTZMAN: And I watched this man that was so larger than life, and
who had been on the top of the mountain just fall apart and crumble
was it was devastating to see.

STEVEN SALTZMAN: My father became very insular.
He was so bereft at her death, there was no funeral. He couldn't handle it.

HILARY SALTZMAN: Breaking up of the partnership affected him deeply. He was a very
emotional man and now he was alone.

JUROE: In the film business it can be one strike and you're out.
The Man With The Golden Gun was regrettable, but if the next one had gone
the same way then there could have been a big, big problem.

The Spy Who Loved Me was a big roll of the dice for Cubby.

BROCCOLI: It was double or quits.
He was going to put everything on the line and make it the best Bond film ever.
But, James, I need you.

So does England.

The pre-title sequence on Spy Who Loved Me was
was a metaphor for what Cubby was doing at the time.

Here you have James Bond, on his own, skiing off the edge of a cliff,
going into the abyss looking as if he's not gonna make it.

It's a real symbol of Cubby's determination and courage.

The homage to survival.
(WIND HOWLING)
(JAMES BOND THEME)
JUROE: I had never seen reaction in the cinema
as there was that night.
You couldn't help it.
You could not help but stand up.
Even Prince Charles stood up.
Bond then became a national treasure.

Well, really, Mr. Bond. (CHORTLES SUGGESTIVELY)
I've been asked to state my feelings about a fella named Bond.

Bond is fearless, skilled, witty, courageous,
and, one other thing, he always gets his girl.

007!
He became the man all men wanted to be and all women just wanted.

Oh, James.

I can't even tell you how huge it was in our house.

We got snacks if was a James Bond.

Bon appetit.

If I had a tail it would wag.

That's really why I wanted to do Austin Powers .

Allow myself to introduce
myself.

Austin Powers is out of pure love for James Bond.

Of course, some critics might say
that Bond is nothing more than an actor in the movies,
but then we've all gotta start somewhere.

The whole thing is that you must not laugh at it.

You must let the audience know that they're invited to laugh with you.

Forgive me, Father, for I have sinned.

That's putting it mildly, 007.

Egyptian builders.

MOORE: I suppose because I was more relaxed,
I really could make James Bond Roger Moore
rather than Roger Moore James Bond.

223, take 1. And reintroducing...

MOORE: I was getting paid a lot of money to be a grown-up schoolboy.
ADAMS: Cubby and Roger were really, really good partners.
Now, you want to know why I'm doing another Bond?
BROCCOLI: Cubby loved being in the thick of it.
MOORE: He cared about his crew as he cared about his actors.
ADAMS: Always making sure that you were doing all right.
Grandfatherly in a sense.

A typical Italian padrino godfather.

BROCCOLI: He wanted everybody to enjoy his success.
If we were going out for dinner, he wanted everybody to come.
Savoring every moment of this extraordinary experience of making movies.

It was such a wonderful family atmosphere, and it must have been
such a relief after the tension of the previous films.

BROCCOLI: What came out of the break-up with Harry was Michael.
Michael, who he had loved as a step-son, then came into the fold
and helped tremendously re-chart the course of Bond with Cubby.
WILSON: Cubby never took a Bond for granted.
He never took the audiences for granted.

There was a feeling that one day we would see Bond films
in China, in Russia.

(RADAR BEEPING)
That there are people of goodwill on both sides
that didn't want the world to descend into chaotic violence.
That was part of our wishful thinking.
We would try to not make things worse.

That's detente , comrade.

(LAUGHING)
BROCCOLI: Time had passed
and Cubby just felt that he wanted to make peace with Harry.
I know Harry missed Cubby a lot.

HILARY SALTZMAN: My father received an invitation
to the premiere of For Your Eyes Only.

He was very nervous. He had become incredibly reclusive.
HILARY SALTZMAN: It was the first time he was really coming out in public
and I don't think was sure how he would be received by Cubby.

HILARY SALTZMAN: And it was such a special moment
when he and Cubby saw each other.
It was as if the whole room fell away
and the only thing that existed were these two men
who walked across the room and hugged each other.
It was loving and friendly and needed.

STEVEN SALTZMAN: It touched him profoundly.
He was beaming.
It really was the closing of that period of sadness.
Harry, to his death, would say,
"I was the producer of the James Bond movies."
He was still proud of that.
Code name?
Thunderball.
MCCLORY: Counter-intelligence, terrorism,
revenge, extortion.

ADAMS: Kevin's whole life was Bond.
He lived, ate, breathed Thunderball.
It was an obsession.

ADAMS: They couldn't have had any idea how tenacious he would be about his rights.
MCCLORY: We had a little problem with the Bonds
mainly because there's... Broccoli and Co. have their Bonds, we have our Bonds.

MOORE: McClory always was in lawsuits claiming the rights
to be producing Bond himself.
It was an ongoing battle.
BROCCOLI: We were getting the sense that this was an adversarial situation
that was probably never gonna go away.

CONNERY: Kevin McClory came to see me.

CONNERY: He said that after 10 years
the rights to do Thunderball reverted back to him.
In 1971 he walked out, saying...

Never again.

Never?
REPORTER: But now James Bond is back.
The real James Bond,
with the ironically titled Never Say Never Again.

1The trump card of Kevin McClory was that he had Connery.

Not that he was remaking Thunderball.
JUDY GEESON: Getting Sean Connery to come back, it was just...
That's Kevin at his best.

BROCCOLI: Cubby took it personally that Sean wanted to make a rival Bond.
I don't know whether Sean made Never Say Never Again to spite Cubby.

Would you welcome Sean Connery.

Anything I can do that's gonna upset Broccoli
I'm gonna do if my name is Sean Connery.

Who played the first Bond villain?
Cubby Broccoli.

(BOTH LAUGH)
Of course it hurt. Of course it hurt my father a lot.

MOORE: It just made the team more determined
to make Octopussy bigger and better.

REPORTER: This is turning into the battle of the Bonds.
Bond trying to kill Bond. It's kill or be killed.

BROCCOLI: We was gonna get our head down
and just make the best film we can.
That's 's all we can do.
We'll fight them off.

The audience will determine that.

A lot of anxious nights.

There were a lot of phone calls checking what did it gross.

The minute those first releases were finished
we knew we were dealing with a success.

Never Say Never Again , I think proved the point
that a Bond film cannot exist with just one element alone.

BROCCOLI: Just having Sean wasn't enough.
If you say who's the best Bond, I'd say "Well, obviously, Sean was."
He created a character that had become part of British film history.

You were a very good secret agent.

Really.

It was clearly the last time Sean was gonna be wooed back.

But Kevin loomed for decades.

I first met Pierce Brosnan when he was on the set of For Your Eyes Only.
It was Corfu.

Well, my late wife, Cassie,
she got a job as a Bond girl.
And there I found myself on the set of a James Bond movie.
There was jokes made that I'd be the next James Bond.

BROSNAN: And little did I think it was gonna play such a major part in my life.
I got this great role in a series called Remington Steele.

And Remington Steele put on the map.
Then in '86 they canceled the show.

By this time they were looking for a Bond to do The Living Daylights.
And my name was in the hat.

I auditioned and I got it,
But there was a clause in the Remington Steele contract
where they had 60 days in which to resell the show.

So we were assured that everything was gonna work out fine.

I thought, "This is fantastic.
"I'll go off and now be an international movie star."
The 60 days ticked away. Everything is looking good.

I'd already done the photographs.
I'd stood there by the sound stage with the classic pose.

I was with him in LA to handle the announcement
and we were gonna have this big press conference.

Thank you.

And Pierce was just the happiest person you could be.

It's Day 60. We're off to the races.

Telephone call for Remington Steele.

Miss.

And the phone rang as I was walking out and I thought, "Shall I answer it?"
And I thought "Mmm, I'd better answer the phone." "Hello?"
Until recently, the new 007
was to have been TV's Remington Steele, Pierce Brosnan.
He apparently missed out on the part when NBC decided
to pick up the MTM-produced series after it had been canceled.
And the man was absolutely shattered.

BROSNAN: It wasn't until about six months later, I think, that I really began
to kind of have a whiplash effect.
I drove down the Pacific Coast Highway.
Billboards of Tim everywhere as Bond. I was gutted.
Thinking of the possibilities that could have been.
Why did it go so wrong?
We have a new James Bond. Now it's Dalton. Timothy Dalton.
REPORTER: A Welsh actor who's more used to playing Shakespeare than secret agent.
CUBBY BROCCOLI: We've always liked him.
And we're sure his interpretation of James Bond
will be one that we will be happy with.

DALTON: The first question you ask a producer is "What do you want of me?"
Do you want me to carry on in the vein that's been set
or do you wanna set off on a new course?
The safe, the easy answer is to say, "Stick with it as it is."
In which case, I guess I'd have said, "No."
DALTON: Roger was brilliant at what he did
but I couldn't simply copy what he'd done.

The movies had become somewhat pastiche.
Before you go too long, you've become a parody of yourself.

DALTON: You've lost depth, you've lost texture,
you've lost contradictions. You've started to get shallow.
What makes these movies work? What is it that got them going?
DALTON: You've got to go back to the beginning.
Here was a hero who murdered in cold blood. Bam, bam, bam,
DALTON: The dirtiest, toughest,
meanest, nastiest, brutalist hero we'd ever seen!
This is what started those movies.

Shocking.

I wanted to bring people back to believing in this character,
to bring my reality to it.

I guess I've always liked a challenge.

I'm enthusiastic about it.

I'm 80 years old and I'm still enthusiastic about making Bond.

He was very excited about starting up again.

BROCCOLI: A real sense of nostalgia, going back to the beginning
when it was all fun and full of promise.

Slate one, take one.

REPORTER: License To Kill, the 16th 007 adventure,
is not the usual Bond dose of escapism.
Instead, a tale of the nasty times we live in.
Timothy wanted to get the job done.
DAVI: He was a man on a mission.
It was the most violent Bond picture to date.

Pushing the envelope all over the place.
"This is terrible. I can't bring my six and seven year olds
"to see Bond any more."
Well, it was never made for six and seven year olds.

They're meant for warm- blooded, heterosexual adults.

They are not meant for schoolboys.

The further out on a limb you go the more exciting it is.

That he was tightly wound is no joke.

MALE CRITIC: Timothy Dalton, if he has a weakness,
it's the comic side of the character.
MALE CRITIC 2: Dalton is solemn,
displaying little style and almost no humor.
There's always a message in the ravioli.

Judging from the audience reaction that's not what they wanted.

DALTON: You know, going in, that half the world loves Roger Moore
and half the world loves Sean Connery.
Whatever you do, you might end up with everybody in the world hating you .

JUROE: Timothy Dalton was a very, very good Bond.
You saw him acting on the set and you thought, "Gee, boy, a, that's something."
But somehow or other, the public just didn't buy it.

How do you explain something like that?
BROCCOLI: Tim got the beating for it, unfairly.
It wasn't him, it was the films,
Particularly License To Kill became too dark.

BROCCOLI: I think that he was very much ahead of his time.
Sometimes the audience takes a while to catch up with the change.
You know, Cubby said an interesting thing.

It took three pictures for Sean Connery to be accepted as Bond.

DAVI: So when you look at Tim, he only did two attempts.
DALTON We had started what would have been my third movie.
The studio was going through terrible sort of paroxysms.

BROCCOLI: Harry selling his shares
meant that Bond was suddenly having to deal with Wall Street and became a pawn
in a lot of negotiations.

DAVI: That's when the financial sharks take over.
United Artists got dismembered and sold and resold.
And the people who suffer are the creative people.
New people have been brought in and it's very, er, difficult
to make films with all of this interference that's been going on.

He just wanted to make movies.

That's what he wanted to do. That's what he was meant to do.

The thought of spending his last few years fighting a lawsuit
was just overwhelming.
PICKER: You have to remember, Bond was off the screen for six years.
Obviously people were asking questions "Why isn't there a movie?
"What's happened?"
PRIEST: We therefore commit this body to the deep.

WILSON: Everyone was wondering "Was that it? Will there ever be another Bond film?"
OFFICER: Present.

OFFICER: Fire.

BROCCOLI: He talked to Michael and I. And he said, you know,
"I don't think I can survive this."
So he said, "I wanna put it up for sale."
Fortunately, people were then put in place at the studio
and they were the people that Cubby felt that he could work with.

Beg your pardon. I forgot to knock.

BROSNAN: I was aware of this fallow time,
that it had been dormant six years.

When it came back in '94, I heard the rumblings and heard the tom-tom drums
that they were going to come round and ask me.
Having been disappointed once, having been to the altar and left standing there,
I didn't even want to enter into such a scenario.

Then, one day, the phone rang and it was my agent.
He said, "You've got the job. You're in."
I said, "Are you sure? We're on?" and he said, "It's happening."
"Thank you. Great news."
And he said, "You can't tell anyone. This is top secret."
"I won't tell anyone." (MOUTHING) I'm James Bond.

"I won't tell a soul, Fred. Okay, goodbye. See ya."
"I am Bond! I am James bloody Bond at last.

"All right, crack it open."
James, you're incorrigible.

? From Russia with love ?
DAME JUDI DENCH: I think that the whole business suddenly
of the Cold War virtually ending
must have been a terrible fright.
Each time a new film is written,
that it must somehow be relevant and up-to-date.

Christ, I miss the Cold War.

BROCCOLI: The press were saying Bond was a passe thing.
The world has changed, there are no enemies
so there's no need for James Bond.
PICKER: Bond had been off the screen for so long,
The Wall Street Journal said it was a $50 million gamble
that just wasn't worth taking.
There was a real doubt that Bond could survive in the post-Cold War environment.
Because I think you're a sexist, misogynist dinosaur.

A relic of the Cold War.

Cold War. Okay, it's gone,
it's over, but you still have secret agents.

BROSNAN: Y ou still have countries that want to protect what they know.
JANSSEN: Whether or not Bond could make a comeback at that time,
what needed to be updated? What could remain the same?
I remember feeling very nervous that a female M would be accepted.

JANSSEN: How do you know if people are still gonna respond to it?
There were no guarantees.

BROSNAN: A world awaiting the arrival of the next Bond,
who he's gonna be and will he match up.
The director, Martin Campbell, use