007 No Time to Die - Making of & Behind the Scenes

seeing Bond at the start of this sequence driving with meline in the DB5 why would I betray you we all have our secrets instantly it's just an iconic shot just didn't get to yours yet this time the relationship between Bon and madin is much more developed the story is more emotionally driven than it is action driven vest Berlin is buried in Mata and meline has guided Bon there and meline I think feels like he should forgive her the trouble is um somebody's watching them we are Fame for having the best opening sequences for any franchise for me this sequence is one of the big sequence that makes you feel okay I'm a James Bond movie you've got many things that really make it appealing first of all you've got the beautiful location Mata Italy which is one of the oldest cities in the world then throwing to the equation the car the Fantastic legendary DB5 it gets people's juices going because of the gadgets it has and we we use them all Carrie wanted it to be gritty but he didn't want it to be over the top so when we originally scouted it and carried basically signed off L the city it fit story-wise for us as well then we had to go about how we're going to break it down how we're going to achieve a high spe Chase and so one of the main problems with materal is which bit you shooting we were looking at going up steps down steps it was finding the actual right combination of streets to do it in it was very challenging to find a way to still keep us PE up it was constantly evolving even up to when we shot it which was probably 6 months later we were still evolving the sequence is it the way you're going to film it is it just the stunt itself is it the way we want to have the actor doing it all the time and then how we going to do that to make it safe action Olivia Schneider had long conversations about the fighting style to make it fit the character there's a brutal Simplicity to it now that's just come with age and all the time you try to put the line as far as you can because you don't want the audence to be disappointed good job the action comes out of a fight or die situation I think therefore the the action itself becomes more exciting because you actually care about the characters there's a motorbike Chase right at the beginning all in the incredible backdrop of Mata the moment where Bon jumps the motorcycle it's a big moment actually because it was very last minute Lee and I even Daniel we were thinking like we missed something here we need a bone moment that idea didn't come about 8 months earlier you typically would do that and and plan on all the dangers that came about probably 4 weeks before we pulled off the stun and we want to build a ramp that looked like it should be there in place it it looks like a war so to look like a war it had to be really steep at 65° this is a section where we see Bon traveling at high speed on the motorcycle it's taking from primo and see the structure we've had to put in place because we had to make sure the ramp would take the loadings this section where it's critical John's now working on the ramp as far as just past where George is now coming down he's committed at that point There's No Going Back [Music] spe all right yeah really good I think just with the drive you got coming in let's do two three more yeah and then you're ready to go stunt Rider Paul Edmonson who double bond one of the best riders in the world four times world champion technically no problem whatsoever but then come the day of actual rehearsals and when you actually get to the bottom of the ramp both of us were having a little look at each other okay let's do another we both knew that you had to hit it at a certain speed it was full commitment cuz when you're jumping a motorcycle up a ramp that Steep and covering 35 40 ft but you g up almost vertically you become almost like a sell you're not going forward through the air you're going up and so the wind can catch you and unfortunately the day of shooting was going the wrong direction so it was blowing off to the area where we were going to land everybody waiting everybody's getting tense everybody's ready to go to roll cameras but the wind's too strong yeah you know it's one of those you you've got to commit but at the same time treat it with respect and think about what you're doing so when you put all that together that's when it becomes interesting [Music] to see him go over the first sign was uh a massive relief it's not V effects it's real they did it you need guys of that caliber to achieve things like that in the time we do it in this garage at the moment we've got all the action vehicles that you would have seen up till now behind me we've got 10 asy Martin DB FS we had two what we call hero cars which are original DB FS this is the car that Shan connory first appeared with yeah this is the car that always always appears that is synonymous with7 this has always been the car that Daniel does the pull-ups and the pull aways from now these two cars to the eye are identical to the first two but these are actually stunt replica cars that's all kitted out and my job is quite a cool one I get the chance to drive the DB5 as James Bond uh we go into some very sort of highspeed Roads as high as they can be for these type of Roads we've had a big challenge with the surface it's very very slippery and in fact we've actually used Cola on the surface to give us some grip back which works really well so it's built to do what we want it to do um it's a beautiful handling car it's a it's a pleasure to drive and it's a very special little toy there's a particularly F stretch of road running alongside the valley in Mata and in that spot the DB5 could really open up DB5 is traveling at speed whe it speeds at 100 plus sometimes along the Gorge Road and the good thing about Mark is the faster the speeds go the better he gets the DB5 I'm in now it's been built from the ground up with competition suspension it's got about 340 horsepower [Music] so these two cars these are the stunk Gadget cars and these are the ones that you'll see in the film where all the gadgets are exposed you obviously saw the the guns working in Skyfall and then the car itself gets destroyed Spectre gets rebuilt but we don't know what's inside it we kind of had cart blanch just sort of reimagining what's in the car and what it could do and try to do it Tastefully obviously we want it to fit within the narrative and the emotional story we're telling film but also you know have a little bit of fun with it too we refer to this as donut Square it's San Giovani Batista it's where bond gets cornered this is going to be a noisy moment out of fire after they've emptied their clipse um James Bond says right now it's my turn we put something like 5 600 py Technic scribs on these 4 500 year old churches some cases we've been able to make some pre-rigged panels they look exactly like the stonework this is a very ancient church and we can't damage it at all this is one of the panels we've made in the UK wedged into position it's actually foam and in here we've got a small explosive charge which will give us a whole roughly this size everything's got an explosive charge on it cars in the street over there new stand steps and they fit this is artificial stone it's it's a mixture of foam and insulation particles it's very soft but it looks like Stone when it explodes but you can stand next to this and it won't hurt this is our circular Striker each of these switches will operate a sequencer so as a car spins around it'll activate those switches which will then operate an automatic firing box it means that we can always be in sync with the position of the car putting hits along the wall here and they go all around the square you see it's 360° of carnage the great thing about this shot is Daniel actually did the donut himself he floored it put it into a donut and did a complete 360 does everything that boms DB5 should do we do it and more it was fun was really fun spinning around I would do it again with Daniel doing the car work and having the confidence of Lee Morrison there to sort of guide him through it having Chris corball who's you know a magician with the special effects having complete trust that that everything everyone is safe everyone's going to do something and walk away from it but it's also going to look spectacular it's really important to get the action just right so it becomes believable and what we're doing here it is a little scrappy it is aggressive and it is for Real hopefully it will be another Bond iconic moment doing stunts for real is always going to feel that much more exciting everyone UPS each other's game just keeps building up to you have these amazing scenes there's some powerful powerful moments in this film you know alongside all the action it was quite exhilarating Mata is in the last 20 years probably the most challenging City I've ever worked [Music] in to have all these masterminds come together to help us bring this to life that is the sort of the dream com true part of of making a movie this big it's a satisfying emotional Journey for an audience if they're invested in the characters and that hopefully makes it fascinating to watch James B movies are action adventure movies if they're real and they feel real then that makes it fascinating to watch so much of the action sequences in this film are shot practically and they are Riv the reality of real humans doing these things I think is is so much better I think audiences feel the same way it would be so much easier to say okay let's put a fry car here and let's do that but no that's not the way we do that's not what we love to do I think for us on a bond you know that there's a high risk when they call Action that's a real person jumping off the cranes or crashing the car or jumping the motorcycle Which is far more rewarding as a stunt coordinator and stunt man rather than working in just a green screen environment all the stun guys in the world want to work on a bone fin the first thing I start thinking about is how can we make it better how can we make all the action more spectacular Cuban streets is where Bond goes in to extract a character in the film and it starts in Spectre event where it kicks off a lot is going on in that we had no me character starting on the roof ready to kidnap valdo she was sing to drop 30 ft High catch him and go back up one of the things I was first impressed with in Lana's um her physicality her speed Precision of her movements was very impressive every single day they were training me hard um having me on all different weapons different setups I think Paloma is a surprise I don't think people expected something like her Paloma uses three different guns she runs with them she changes them in action so I really wanted to get it right and looked like I knew what I was doing I really enjoyed that part Bond escapes from the Cuban set in a sea plane um and then takes off and lands next to a looks like an abandoned troller it expion we had to be mindful that it was a real troller so we had to do it in such a way that we we could guarantee we weren going to damage it so we did many tests back in Long cross at my base it was all directional so we knew exactly where it was going to go we knew it wasn't going to spread through any other parts of the boat when confronted with the fact that we had to sink the boat we then started to create the rig that could do that it's my favorite rig on the film I have to say I love those mechanical rigs where you program them because it could roll 360° and and then lower into the 6 M deep tank of water relx Daniel and Jeffrey did a great job swimming through it trying to get out the first day that we went down to rehearse and the thing flooded I I just couldn't stop grinning it was just great fun you know you're thinking wow we call this work huh absolutely one of the best rigs I've ever seen it was for real we took that under the water and there was an air pocket really really eerie set to be in because you're not only trying to control your breath and think about the action and think about the story but it's trying to keep calm still get that emotion across on camera really really challenging environment that the other Chase in the film was totally different to the Materia Chase it starts in Scotland doubling as Norway Bon now is driving a toy to Land Cruiser not the fastest of vehicles but very very hardly and then you see a flash of two range row svrs blast past and then he's just purely driving on Instinct trying to evade and get away from these guys we'd have the Defenders coming down from High Ridge lines jumping over ledges you to have the motorcycles all vehicles driving across the river multiple times I was building certain terrains where they hitting at 50 to 70 mph and Daniel's in there you know basically mixing it up with everybody you know bikes riding alongside banging into the side room Defenders trying to shove him into the river really spectacular Chase and look fantastic for the battle St scene it was when Bond and Nomi are in the layer of saffin and they get split in the third act we still missing a special moment action wise for Bond and then we come up with that battle stair scene which I'm very proud of I felt physically was I going to be up to it but actually we we figured it out on this one we don't have any less action and of anything I kind of just do as much as I've ever done Daniel and carry really wanted a fierce fierce firefight and it was particularly intense there were many many bullet hits that we um embedded into the walls and Daniel was shooting there was grenades going off on the third shot grenades already rolling at that point he's coming out seiz the grenade and that's when we're around for that it was a really emotional moment for all of us because it's Bond's final battle in the end of Daniel re's bonds I wanted to make sure he got sent off in a great [Music] way yeah it was very emotional that day and I will remember that all my [Music] life one of the exciting things about the idea of a spy out in the world doing things is all the Exotic locations they go to all the place in the world that we may never go to the locations become characters and I think it helps to give the film some some oxygen and some scale the locations have been absolutely insane for me Bond was an early cinematic hero that transcended uh geography and nationality when you watch the beginning of a Bond film you are expecting some kind of spectacle right in some ways I wanted to subvert that in Norway we have a surprise opening which is not even from Bon's perspective thematically we felt it worked really well it was a beautiful canvas there's something dreamlike about this it's about being haunted by these figures from your past and how those figures can really hang over you throughout your entire life this like is normally a sea of snow with a very thin layer of ice underneath we have through the process of removing the snow and allowing the cold nights to naturally freeze the water on the surface of the lake manage to cultivate it and create a safe working environment for our crew and also build our house in the background the frozen lake water forms a type of ice that we call Steel Ice and it's this very strong ice in English Eng it's Black Ice half a meter uh of black ice you could run a very heavy tractor like 8 tons so it has been very efficient way of strengthening the ice we wanted a sense of isolation we wanted a sense that they were separate from the world we ended up with some very spooky and almost scary film footage it's a bond beginning unlike any other we start the film with a flashback to her childhood and Trauma that she went through then we pick bondon lay up at Mata they go through an action sequence the stakes are very high Mata is one of the oldest cities in the world it's certainly one of the most extraordinary locations we've ever been in we have the DB5 which was reconstructed after Skyfall and is in perfect condition and has a few added extras and does everything that boms dv5 should do we do it and more all in this incredible backdrop of Matera it is not built for the modern world in a way that the roads are narrow and short it doesn't from that point of view seem like the obvious place to do a car chase I think the skill and success of of this sequence will be that you can use the hillside layout of the town to great effect with the stunt and specially effect sequence there was a lot of apprehension mat's never seen anything this size before a lot of filming here but just nothing on this scale well it's hard to get the car going fast in a city like Mata where the roads tend to be very narrow we use the environment and the vehicle in a way that you don't expect when you're doing car chases you need to make sure that you have secure lock offs so that no one wanders into the traffic it is really amazing when you pull all of this off and I'm mesmerized by the sheer scale of the whole [Music] operation we are on at ver estate in the Scottish Highlands and we're filming new Bor I was really really Keen to do a a Bond driving Chase sequence Offroad in a really really challenging environment you know up in the highlands it's stunning everywhere you look it looks like you can drive normally you can't you're working on a Bond film The the collective expectations are high everybody wants to make the best film possible so you want to find the best locations that are going to work you want to have the best stunts that are going to look spectacular on screen they're genuinely driving down steep Rocky hillsides across Rivers going off ramps the Scottish part of this car chase was enormous it was an enormous undertaking we we essentially took over a private estate logistically it was very complicated narrow roads locations are far from each other it's been a lot of work but I think when you see the vehicle performing it be quite a spectacle Barbara mentioned early on the idea of going back to Jamaica for the story Jamaica was the place where Ian Fleming created the character of bond and wrote all the books and short stories there he ends up living in Jamaica which is basically James Bond's sort of spiritual home it feels like such a bond thing whether it's Dr No or Live and Let Die the connection is a is a solid one and it felt like the right thing to do Dr No the first James Bond film was obviously shot in Jamaica in Oria this araba area which is the eye area even though the house that we built is nothing like where Fleming lived you could feel the wildness and that living on the edge of nature that feels just right for a guy like Bond who has seen and experienced what he has and is looking to live quieter more peaceful life and the Jamaicans have been incredible um right from the get-go certainly in our props Department art Department construction all of those key departments we've we found great great people in Jamaica and it's been an absolute privilege working with it this is an island of just stunning Beauty not just the land the water but the people the energy the spirit um the culture that that lives here we have all of that that comes to bear and it really only helps to drive uh the building of the character and drive the story forward you know all we have to do then as actors is just show up in the midst of that and and live it it I'm Jamaican my parents are Jamaican they're born and bred here Jamaica is Rich flamboyant colors and it has a heat and a history and a grit to it that not many people get to see and I feel very in touch being here and I feel grateful to bring my culture to the cinema uh we're in Port Antonio in Jamaica where we shot part of our film that's supposed to be Cuba the government here has been absolutely amazing and supportive for us we've had incredible support from the Jamaican government if you go and talk to um a company and say look would you be interested in somebody flying a plane in very close proximity to your clo they going to say no when you tell them James Bond's doing it they're they're up for it we want the locations to be Sensational and stunning we want people to remember this film for every reason Bon movies are deeply uncon in our culture especially here in the UK as a 25th film we did a lot of thinking about what were the best moments that we'd seen in Bon movies and um how would we pull some of those together for this final one for Daniel James bond to be designing a Bond movie is a real privilege and it's sort of a treat we're looking for new inventions new ideas a bit of scale glamour things that are sort of extraordinary there's really a special feeling you're hit with when you step on a007 Sound Stage and onto a set like that we need these fantastic sets to to set the scene for us and and Mark Tils is just you know one of the best in the world we have come to Jamaica we've built in U in this B Coco Bay we built Bond's house this is um Bond who is now in retirement has come back to a bond spiritual [Music] home some of the kind of design features that you'll see in this house are taken from Fleming's Villa we've also got a reproduction of Fleming's desk in James Bond's bedroom but what we wanted to do with this place was make it a little bit more Rough and Ready the best way of achieving the look for us was to actually build it with local Jamaican guys it has this kind of real local feel to the design of the place the really tricky thing about this location is that there is no Road all of our materials had to come in by boat so we had to actually build a pier here and that was our not only part of our set but also the access for everything you see on this [Music] set the most famously stylish man in the world needing to kind of blend in and not look as stylish as the norm does but kind of still needs to look stylish everything he owned we wanted it to feel like he had to his core intuition about style but he doesn't think about it too much it's just there I wanted him to look like who he is he's a bit older he's a bit wiser he doesn't run through quite as many walls as he used to you know you might take the door off it's injes I wanted know me to have her own very strong very self-possessed sharp look whatever she was wearing she'd have to be at the ready her clothes needed to be as stylish and utilitarian in the same measure as Bon's clothing was sutat reads people really easily and quickly she worked with my height my shape um my skin tone everything I felt like was just complimenting who I [Music] was Cuba was obviously at one time really wealthy and exotic but now has this sense of faded Grandeur it's even more exciting that it look like looking at Ancient Rome or something we weren't able to do this in Cuba because there was a lot of fight work and all sorts of action that was going to be involved so we had a building there are 12 buildings on the Cuban set every building has a different purpose the elnido bar is a specifically designed building using many references that we found in Havana that building is one of the hero buildings so therefore we had to adapt it in a certain way that worked for the action lots of stunt action we wanted this Grand classic romantic staircase it's a very famous restaurant in Cuba but it has a road that runs underneath the staircase and um we wanted to try and emulate that there was a definite Deco feel that Carrie wanted so you can see the sort of Deco esque lights with the true Latin American f is a very very tall building we're using all the elements nothing's to waste here this is a truly hero building for a bond [Music] sequence I am Cuban and I know exactly how Cuba looks like and I think it's very hard to recreate a country like this this decadent aspect of it so much color and it's so rich and the pass of time [Music] it was really impressive the level of detail on the scale of the set was a 360 functional set with entire buildings it was like an immersion into Cuba the Spectra event was a particularly juicy and satisfying part of the design process for us it's one of those parts of the story where the costumes are giving you as much of the environment I think as the set is it also made bond and Paloma make sense to me there are like these sort of iconic Silhouettes in the middle of all this noise I wanted the noise to feel a little seedy a little dark a little dangerous the tux is probably the most iconic of the James Bond wardrobe looks Tom Ford has a handful of shapes and we wanted to devise something that was specific to Daniel so we took the best parts of some things that existed with a new version of a suit that they're currently developing it was an amalgamation of those things with Palomo we wanted to make sure that she stood out from the crowd but was embedded we knew that we wanted to probably have a diamond moment for her whatever the dress was couldn't sort of steal the Thunder of the diamonds lots of shapar pieces to choose from it was really hard but I feel like we found the right touch for her however the diamonds couldn't be the only thing that we were looking at and she needed to look as a stunning whole package the surprise of her being able to conduct all these crazy stunts in what seems like a diaphanous dress is the strength of that costume in that [Music] character Mark sets were breathtaking he designed a poison garden for my character that felt like the greatest playground a villain could ask for the detail and scale and scope of his work hearkens back to those iconic Ken Adam sets but with a modern twist for our finale our third act we arrive at the lay of saffin his family have brought from the Russians an island for that we've had to invent this island on which there is a testing plant of giant silos and underneath the silos when you open the missile doors you go down below into a giant concrete brutalist Subterranean Factory so we have that classic Ken Adam circular door that will open to let the missile out in many bruis list buildings the lines are quite simple and bold and I think the trick in that world is really not to over elaborate it and keep it really simple so that it becomes really a sort of sculpture about light and dark and that sort of forms a graphic language where seeing these very clean and simple [Music] shapes we use that language the bond language of the sort of jumpsuit and these algae Farm Workers in pink inside our very monochromatic giant Labyrinth I found a picture of a Japanese designer isaki kind of at his drafting table there was something about this image that was sort of severe and serious almost like I'm the architect of the world and there was something about sain's character that had a sort of gentle arrogance like that this image became the leaping off point for all the choices that we ended making Sut is the definition of collaboration saffin is such a meticulously evil person and I love how sutat brought that meticulous Precision to every one of his [Music] costumes it's a real tribute and it's quite fun to do the classic Bond sets like M and money Penney's office each time that set comes about is evolved each design team adds a little piece so we slightly adjusted the color of the lever on the door and then we made a new painting but fundamentally the desk and everything else has been the same for a long time she just try and keep it in the same language the sets are other characters in the movie and they're really powerful um characters and because they set the tone for everything Mark is just transporting us into the world that he's created every single time he's literally giving us exactly what we need as actors to feel and sense and experience what our characters would be at every given moment what I'm interested in is whether the film as a whole with all its parts and pieces is thrilling the story the lighting the action is important in fact the performance is most important so hopefully we've given the performers world that they felt excited by and involved in and that will come out when we watch the film I'm immensely proud of it because of just the huge Collective effort that goes into making a Bond movie and being just a small part of that it's an honor to be in that position

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Id: U0PsA8qjeL8

Length: 36min 0sec (2160 seconds)

Published: Sat Jun 03 2023