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MUSIC: Theme from "On Her Majesty's Secret Service" by John Barry | 0:00:02 | 0:00:05 | |
MUSIC: Theme from "Goldfinger" by John Barry | 0:01:25 | 0:01:27 | |
CHEERING | 0:01:41 | 0:01:43 | |
Thank you, Carl. | 0:02:07 | 0:02:09 | |
Welcome to an evening | 0:02:09 | 0:02:12 | |
where we hope to leave you shaken, but not stirred. | 0:02:12 | 0:02:15 | |
LAUGHTER | 0:02:15 | 0:02:16 | |
James Bond was conceived in 1953, | 0:02:16 | 0:02:20 | |
at Ian Fleming's home Goldeneye, Jamaica. | 0:02:20 | 0:02:25 | |
"I created Bond to take my mind off that appalling business | 0:02:25 | 0:02:29 | |
"of getting married at the age of 43," explained Fleming. | 0:02:29 | 0:02:33 | |
"It was rather a dramatic step for a confirmed bachelor," | 0:02:35 | 0:02:38 | |
"and I created Bond to insulate myself against the shock." | 0:02:38 | 0:02:43 | |
Ex-British intelligence, expert bridge player, | 0:02:44 | 0:02:49 | |
a compulsive womaniser - | 0:02:49 | 0:02:52 | |
whether Bond was modelled on Fleming or the other way round was academic. | 0:02:52 | 0:02:55 | |
Ambitions to turn Bond into a celluloid hero date back to 1954. | 0:02:57 | 0:03:03 | |
But it didn't become a reality until 1961, | 0:03:03 | 0:03:08 | |
when "Cubby" Broccoli and Harry Saltzman secured the rights | 0:03:08 | 0:03:11 | |
to all James Bond books, | 0:03:11 | 0:03:14 | |
with the exception of Casino Royale and Thunderball. | 0:03:14 | 0:03:20 | |
These three gentlemen made unlikely bedfellows. | 0:03:20 | 0:03:24 | |
Fleming, the disdainful old Etonian, | 0:03:24 | 0:03:28 | |
Saltzman, the volatile American, | 0:03:28 | 0:03:31 | |
and patient Cubby. | 0:03:31 | 0:03:33 | |
But they all agreed one thing. | 0:03:33 | 0:03:36 | |
James Bond could only be played by David Niven. | 0:03:36 | 0:03:40 | |
Or Trevor Howard. | 0:03:40 | 0:03:42 | |
Or Patrick McGoohan. | 0:03:42 | 0:03:45 | |
Or James Fox, or Cary Grant, or Michael Redgrave. | 0:03:45 | 0:03:50 | |
Or just possibly | 0:03:50 | 0:03:52 | |
the ex-Mr Universe from Edinburgh - what was his name? | 0:03:52 | 0:03:58 | |
Oh, yes. Sean Connery. | 0:03:58 | 0:04:01 | |
Connery was a beautiful specimen of well-honed manhood. | 0:04:01 | 0:04:06 | |
-I'll second that! -LAUGHTER | 0:04:06 | 0:04:09 | |
One, two, three, four! | 0:04:09 | 0:04:11 | |
APPLAUSE | 0:06:23 | 0:06:26 | |
Dr No, | 0:06:36 | 0:06:37 | |
with its mixture of gritty reality with blatant unreality, | 0:06:37 | 0:06:42 | |
had set the tone for Bond films, | 0:06:42 | 0:06:45 | |
and From Russia With Love was not to disappoint. | 0:06:45 | 0:06:49 | |
The film was also given a helping hand | 0:06:49 | 0:06:51 | |
when President Kennedy declared it | 0:06:51 | 0:06:54 | |
to be one of his all-time favourite books. | 0:06:54 | 0:06:58 | |
007 was now moving in exalted company. | 0:06:58 | 0:07:02 | |
# From Russia with love | 0:07:11 | 0:07:15 | |
# I fly to you | 0:07:16 | 0:07:20 | |
# Much wiser since my | 0:07:21 | 0:07:25 | |
# Goodbye to you | 0:07:25 | 0:07:30 | |
# I've travelled the world | 0:07:30 | 0:07:34 | |
# To learn, I must return | 0:07:34 | 0:07:41 | |
# From Russia with love | 0:07:41 | 0:07:46 | |
# I've seen places, faces | 0:07:47 | 0:07:53 | |
# And smiled for a moment | 0:07:54 | 0:07:58 | |
# But oh | 0:07:58 | 0:08:01 | |
# You haunted me so | 0:08:01 | 0:08:04 | |
# Still, my tongue-tied young pride | 0:08:06 | 0:08:12 | |
# Would not let my love | 0:08:12 | 0:08:17 | |
# For you show | 0:08:17 | 0:08:20 | |
# In case you'd say no | 0:08:20 | 0:08:25 | |
# To Russia I flew | 0:08:26 | 0:08:31 | |
# But there and then | 0:08:31 | 0:08:36 | |
# I suddenly knew | 0:08:36 | 0:08:41 | |
# You'd care again | 0:08:41 | 0:08:46 | |
# My running around | 0:08:46 | 0:08:50 | |
# Is through | 0:08:50 | 0:08:52 | |
# I fly to you | 0:08:52 | 0:08:57 | |
# From Russia | 0:08:59 | 0:09:02 | |
# With love! # | 0:09:02 | 0:09:08 | |
APPLAUSE | 0:09:17 | 0:09:19 | |
The next theme comes from a film that I'm all too familiar with. | 0:09:29 | 0:09:34 | |
In fact, it is named after my former employer, Mr Auric Goldfinger. | 0:09:34 | 0:09:40 | |
I was relieved to find that my character | 0:09:41 | 0:09:43 | |
appeared in the latter part of the film, | 0:09:43 | 0:09:46 | |
as Bond girls generally tend to expire | 0:09:46 | 0:09:50 | |
if Bond takes a shine to them too early in the picture. | 0:09:50 | 0:09:53 | |
Of course, the film was not without controversy, | 0:09:54 | 0:09:58 | |
mostly centring around my name. | 0:09:58 | 0:10:00 | |
LAUGHTER | 0:10:00 | 0:10:02 | |
But what's wrong with Honor(?) | 0:10:03 | 0:10:05 | |
LAUGHTER | 0:10:05 | 0:10:06 | |
But seriously, ladies and gentlemen, for some reason the American censors | 0:10:07 | 0:10:12 | |
thought there was something a little below the belt in the name Pussy. | 0:10:12 | 0:10:16 | |
It was not until they'd seen a picture of the Duke of Edinburgh | 0:10:18 | 0:10:21 | |
and my dear self together in a newspaper, | 0:10:21 | 0:10:25 | |
with the caption "The Prince and the Pussy"... | 0:10:25 | 0:10:28 | |
LAUGHTER | 0:10:28 | 0:10:29 | |
..that they finally acquiesced to its US release. Thank you, Philip! | 0:10:32 | 0:10:37 | |
# Goldfinger | 0:10:56 | 0:10:59 | |
# He's the man | 0:11:01 | 0:11:03 | |
# The man with the Midas touch | 0:11:03 | 0:11:08 | |
# A spider's touch | 0:11:09 | 0:11:13 | |
# Such a cold finger | 0:11:14 | 0:11:18 | |
# Beckons you to enter his web of sin | 0:11:21 | 0:11:27 | |
# But don't go in! | 0:11:28 | 0:11:32 | |
# Golden words he will pour in your ear | 0:11:34 | 0:11:38 | |
# But his lies can't disguise what you fear | 0:11:38 | 0:11:43 | |
# For a golden girl | 0:11:43 | 0:11:46 | |
# Knows when he's kissed her | 0:11:46 | 0:11:48 | |
# It's the kiss of death, from Mr Goldfinger | 0:11:49 | 0:11:56 | |
# Pretty girl, beware of this heart of gold | 0:11:58 | 0:12:05 | |
# This heart is cold! | 0:12:06 | 0:12:11 | |
# Golden words he will pour in your ear | 0:12:11 | 0:12:15 | |
# But his lies can't disguise what you fear | 0:12:16 | 0:12:20 | |
# For a golden girl knows when he's kissed her | 0:12:20 | 0:12:26 | |
# It's the kiss of death, from Mr Goldfinger | 0:12:26 | 0:12:33 | |
# Pretty girl, beware of this heart of gold | 0:12:36 | 0:12:42 | |
# This heart is cold | 0:12:43 | 0:12:47 | |
# He loves only gold | 0:12:48 | 0:12:52 | |
# Only gold | 0:12:52 | 0:12:55 | |
# He loves gold | 0:12:56 | 0:13:01 | |
# He loves only gold | 0:13:01 | 0:13:05 | |
# Only gold | 0:13:05 | 0:13:09 | |
# He loves | 0:13:09 | 0:13:11 | |
# Go-o-o-o-o-ld! | 0:13:11 | 0:13:20 | |
APPLAUSE | 0:13:21 | 0:13:23 | |
There was one Bond story that got away from Cubby Broccoli. | 0:13:36 | 0:13:40 | |
The original Casino Royale, made in 1967. | 0:13:40 | 0:13:45 | |
A whole year before the birth of Daniel Craig... | 0:13:45 | 0:13:49 | |
LAUGHTER | 0:13:49 | 0:13:51 | |
It was a typical '60s farrago. There was not one | 0:13:51 | 0:13:55 | |
but many James Bonds in the film, | 0:13:55 | 0:13:58 | |
including a Peter Sellers creation | 0:13:58 | 0:14:01 | |
and a Jimmy Bond, played by a young Woody Allen. | 0:14:01 | 0:14:05 | |
In a gamble that didn't really pay off, | 0:14:05 | 0:14:08 | |
the one blue chip in Casino Royale | 0:14:08 | 0:14:12 | |
was the elegant Burt Bacharach score, | 0:14:12 | 0:14:16 | |
which included a real gem, The Look Of Love. | 0:14:16 | 0:14:20 | |
# The look of love | 0:14:31 | 0:14:36 | |
# Is in your eyes | 0:14:36 | 0:14:41 | |
# A look | 0:14:41 | 0:14:44 | |
# Your smile can't disguise | 0:14:44 | 0:14:51 | |
# The look of love | 0:14:52 | 0:14:58 | |
# Is saying so much more than | 0:15:00 | 0:15:04 | |
# Just words could ever say | 0:15:04 | 0:15:08 | |
# And what my heart has heard | 0:15:10 | 0:15:15 | |
# It takes my breath away | 0:15:15 | 0:15:19 | |
# I can hardly wait to hold you | 0:15:19 | 0:15:22 | |
# Feel my arms around you | 0:15:22 | 0:15:27 | |
# How long I have waited | 0:15:27 | 0:15:29 | |
# Waited just to love you, now that I have found you | 0:15:29 | 0:15:36 | |
# You've got that look of love | 0:15:36 | 0:15:42 | |
# It's on your face | 0:15:42 | 0:15:46 | |
# A look | 0:15:47 | 0:15:50 | |
# That time can't erase | 0:15:50 | 0:15:56 | |
# Be mine tonight | 0:15:58 | 0:16:04 | |
# Let this be just the start of | 0:16:05 | 0:16:10 | |
# So many nights like this | 0:16:10 | 0:16:13 | |
# Let's take a lover's vow, and then | 0:16:16 | 0:16:20 | |
# Seal it with a kiss | 0:16:20 | 0:16:25 | |
# I can hardly wait to hold you | 0:16:25 | 0:16:28 | |
# Feel my arms around you | 0:16:28 | 0:16:31 | |
# How long I have waited | 0:16:31 | 0:16:35 | |
# Waited just to love you, now that I have found you | 0:16:35 | 0:16:41 | |
# Don't ever go | 0:16:42 | 0:16:46 | |
# Don't ever go | 0:16:47 | 0:16:51 | |
# I love you so. # | 0:16:53 | 0:17:00 | |
Thunderball was intended to be the first Bond film. | 0:17:20 | 0:17:24 | |
However, there were as many battles off screen as there were on it, | 0:17:24 | 0:17:29 | |
as producers and co-collaborators | 0:17:29 | 0:17:32 | |
fought over the rights in a rather ungentlemanly fashion. | 0:17:32 | 0:17:36 | |
As they say in Hollywood - where there's a hit, there's a writ! | 0:17:37 | 0:17:42 | |
But one thing no-one was arguing about was Bond's success. | 0:17:42 | 0:17:48 | |
# He always ran while others walked | 0:17:57 | 0:18:04 | |
# Died, while other men just talked | 0:18:07 | 0:18:13 | |
# Died in a world that needs it all | 0:18:15 | 0:18:20 | |
# So he strikes, like Thunderball | 0:18:24 | 0:18:30 | |
# He knows the meaning of success | 0:18:32 | 0:18:39 | |
# His needs are more | 0:18:41 | 0:18:45 | |
# So he gives less | 0:18:45 | 0:18:49 | |
# They call him the winner who takes it all | 0:18:50 | 0:18:55 | |
# And he strikes | 0:18:58 | 0:19:01 | |
# Like Thunderball | 0:19:01 | 0:19:06 | |
# Any woman he wants, he will get | 0:19:07 | 0:19:13 | |
# He will break | 0:19:15 | 0:19:17 | |
# Any heart | 0:19:17 | 0:19:19 | |
# Without regret | 0:19:19 | 0:19:24 | |
# His days of asking | 0:19:25 | 0:19:29 | |
# Are all gone | 0:19:29 | 0:19:31 | |
# His fight | 0:19:33 | 0:19:35 | |
# Goes on and on and on | 0:19:35 | 0:19:41 | |
# But he thinks | 0:19:42 | 0:19:44 | |
# That the fight is worth it all | 0:19:44 | 0:19:47 | |
# So he strikes | 0:19:50 | 0:19:52 | |
# Like Thunderball! # | 0:19:52 | 0:20:07 | |
On Her Majesty's Secret Service was thought by many to be a forgettable film, | 0:20:27 | 0:20:32 | |
with the unforgettable song All The Time In The World. | 0:20:32 | 0:20:36 | |
John Barry took the title from the final page in Ian Fleming's novel. | 0:20:37 | 0:20:43 | |
Louis Armstrong left his sick bed to record it. | 0:20:43 | 0:20:48 | |
At the end of the session in New York, | 0:20:48 | 0:20:50 | |
he grabbed John Barry's hand and grinned, "Thanks for the gig, man." | 0:20:50 | 0:20:56 | |
Tragically, the world lost this jazz legend shortly afterwards. | 0:20:56 | 0:21:03 | |
# We have all the time in the world | 0:21:12 | 0:21:19 | |
# Time enough for life to unfold | 0:21:21 | 0:21:26 | |
# All the precious things love has in store | 0:21:26 | 0:21:31 | |
# We have all the love in the world | 0:21:32 | 0:21:39 | |
# If that's all we have | 0:21:41 | 0:21:44 | |
# You will find we need nothing more | 0:21:44 | 0:21:50 | |
# Every step of the way | 0:21:51 | 0:21:56 | |
# Will find us | 0:21:56 | 0:22:00 | |
# With the cares of the world | 0:22:00 | 0:22:05 | |
# Far behind us | 0:22:05 | 0:22:11 | |
# We have all | 0:22:11 | 0:22:13 | |
# The love in the world | 0:22:13 | 0:22:18 | |
# Just for love | 0:22:18 | 0:22:21 | |
# Nothing more | 0:22:21 | 0:22:23 | |
# Nothing less | 0:22:23 | 0:22:25 | |
# Only love... # | 0:22:25 | 0:22:29 | |
# ..Every step of the way | 0:22:52 | 0:22:58 | |
# Will find us | 0:22:58 | 0:23:01 | |
# With the cares of the world | 0:23:02 | 0:23:07 | |
# Far behind us | 0:23:07 | 0:23:11 | |
# We have all the time | 0:23:11 | 0:23:17 | |
# In the world | 0:23:17 | 0:23:20 | |
# Just for love | 0:23:20 | 0:23:22 | |
# Nothing more | 0:23:22 | 0:23:25 | |
# Nothing less | 0:23:25 | 0:23:27 | |
# Only love... # | 0:23:27 | 0:23:32 | |
# ..Only love. # | 0:23:52 | 0:23:59 | |
CHEERING AND APPLAUSE | 0:23:59 | 0:24:03 | |
It had taken careful consideration, a large injection of cash | 0:24:15 | 0:24:20 | |
and a new toupee for Connery... | 0:24:20 | 0:24:24 | |
LAUGHTER | 0:24:24 | 0:24:25 | |
..to reprise the role and return to avenge the evil Blofeld | 0:24:25 | 0:24:30 | |
in Diamonds Are Forever. | 0:24:30 | 0:24:33 | |
With all these in place, Sean gives a relaxed performance, | 0:24:33 | 0:24:38 | |
possibly due to the fact that | 0:24:38 | 0:24:40 | |
he was allowed extra time to play golf between scenes. | 0:24:40 | 0:24:45 | |
# Diamonds are forever | 0:24:55 | 0:25:00 | |
# They are all I need to please me | 0:25:00 | 0:25:05 | |
# They can stimulate and tease me | 0:25:05 | 0:25:10 | |
# They won't leave in the night | 0:25:10 | 0:25:14 | |
# I don't fear that they might | 0:25:14 | 0:25:17 | |
# Desert me | 0:25:17 | 0:25:20 | |
# Diamonds are forever | 0:25:21 | 0:25:25 | |
# Hold one up And then caress it | 0:25:25 | 0:25:29 | |
# Touch it | 0:25:29 | 0:25:31 | |
# Stroke it and undress it | 0:25:31 | 0:25:34 | |
# I can see every part | 0:25:34 | 0:25:37 | |
# Nothing hides in the heart | 0:25:37 | 0:25:41 | |
# To hurt me | 0:25:41 | 0:25:44 | |
# I don't need love | 0:25:44 | 0:25:48 | |
# For what good will love do me? | 0:25:48 | 0:25:53 | |
# Diamonds never lie to me | 0:25:53 | 0:25:58 | |
# For when love's gone | 0:25:58 | 0:26:03 | |
# They lustre on | 0:26:03 | 0:26:08 | |
# Diamonds are forever | 0:26:10 | 0:26:13 | |
# Sparkling round my little finger | 0:26:13 | 0:26:18 | |
# Unlike men, the diamonds linger | 0:26:18 | 0:26:22 | |
# Men are mere mortals | 0:26:22 | 0:26:25 | |
# Who are not worth going to your grave for | 0:26:25 | 0:26:32 | |
# I don't need love | 0:26:32 | 0:26:35 | |
# For what good will love do me? | 0:26:35 | 0:26:40 | |
# Diamonds never lie to me | 0:26:40 | 0:26:46 | |
# For when love's gone | 0:26:46 | 0:26:51 | |
# They lustre on | 0:26:51 | 0:26:55 | |
# Diamonds are forever Forever, forever | 0:26:57 | 0:27:01 | |
# Diamonds are forever Forever, forever | 0:27:01 | 0:27:06 | |
# Forever | 0:27:06 | 0:27:10 | |
# And ever! # | 0:27:10 | 0:27:18 | |
CHEERING AND APPLAUSE | 0:27:19 | 0:27:22 | |
Exit Sean Connery. | 0:27:31 | 0:27:34 | |
Enter Roger Moore. | 0:27:34 | 0:27:36 | |
Roger was the first English James Bond, | 0:27:36 | 0:27:40 | |
adding a lighter touch and a cigar to 007. | 0:27:40 | 0:27:43 | |
When asked if he'd like the role, Moore declared, | 0:27:44 | 0:27:48 | |
"I'll kiss your backside in Macy's window for it." | 0:27:48 | 0:27:53 | |
LAUGHTER | 0:27:53 | 0:27:55 | |
-Broccoli declined. -LAUGHTER | 0:27:55 | 0:27:57 | |
# You were young | 0:27:59 | 0:28:00 | |
# And your heart | 0:28:00 | 0:28:03 | |
# Was an open book | 0:28:03 | 0:28:05 | |
# You used to say "Live and let live" | 0:28:06 | 0:28:09 | |
# But if this ever changing world in which we live in | 0:28:13 | 0:28:18 | |
# Makes you give in and cry | 0:28:18 | 0:28:22 | |
# "Live and let die" | 0:28:24 | 0:28:26 | |
# "Live and let die" | 0:28:31 | 0:28:34 | |
# "Live and let die..." # | 0:28:35 | 0:28:40 | |
# ..What does it matter to ya? | 0:29:09 | 0:29:12 | |
# If you got a job to do You've got to do it well | 0:29:12 | 0:29:15 | |
# You've got to give the other fella hell... # | 0:29:17 | 0:29:25 | |
# ..You used to say "Live and let live" | 0:29:43 | 0:29:48 | |
# But if this ever changing world in which we live in | 0:29:51 | 0:29:55 | |
# Makes you give in and cry | 0:29:55 | 0:30:00 | |
# "Live and let die" | 0:30:02 | 0:30:04 | |
# "Live and let die" | 0:30:09 | 0:30:12 | |
# "Live and let die" | 0:30:12 | 0:30:18 | |
# "Live and let die" | 0:30:19 | 0:30:21 | |
# "Live and let die" | 0:30:25 | 0:30:29 | |
# "Die!" # | 0:30:31 | 0:30:37 | |
CHEERING AND APPLAUSE | 0:30:41 | 0:30:45 | |
Back to the set. | 0:31:03 | 0:31:06 | |
Roger was wrestling with his director, Guy Hamilton, | 0:31:06 | 0:31:10 | |
about, well, not wanting to wrestle with his co-star. | 0:31:10 | 0:31:15 | |
There was a call for Bond to toughen up. | 0:31:16 | 0:31:19 | |
But when they're as beautiful as Maud Adams, | 0:31:19 | 0:31:22 | |
Roger thought it would be so much more fun | 0:31:22 | 0:31:26 | |
to hold his interrogations between the sheets. | 0:31:26 | 0:31:29 | |
LAUGHTER | 0:31:29 | 0:31:31 | |
His Bond was a lover and a giggler, | 0:31:31 | 0:31:34 | |
convinced the best way of smoking out information | 0:31:34 | 0:31:38 | |
was with a post-coital cigarette. | 0:31:38 | 0:31:40 | |
# He has a powerful weapon | 0:32:00 | 0:32:03 | |
# He charges a million a shot | 0:32:03 | 0:32:07 | |
# And assassin who's second to none | 0:32:07 | 0:32:10 | |
# The man with the golden gun | 0:32:10 | 0:32:14 | |
# Lurking in some darkened doorway | 0:32:16 | 0:32:19 | |
# Or crouched on a rooftop somewhere | 0:32:19 | 0:32:22 | |
# In the next room, or this very one | 0:32:22 | 0:32:26 | |
# The man with the golden gun | 0:32:26 | 0:32:29 | |
# Love is required whenever he's hired | 0:32:31 | 0:32:34 | |
# It comes just before the kill | 0:32:34 | 0:32:37 | |
# No-one can catch him No hit man can match him | 0:32:37 | 0:32:41 | |
# For his million-dollar skill | 0:32:41 | 0:32:44 | |
# One golden shot! And another poor victim | 0:32:44 | 0:32:47 | |
# Has come to a glittering end | 0:32:47 | 0:32:51 | |
# For a price, he'll erase anyone | 0:32:51 | 0:32:54 | |
# The man with the golden gun | 0:32:54 | 0:32:58 | |
# His eye may be | 0:32:58 | 0:33:03 | |
# On you | 0:33:03 | 0:33:05 | |
# Or me | 0:33:05 | 0:33:07 | |
# Who will he bang? | 0:33:09 | 0:33:13 | |
# We shall see! | 0:33:15 | 0:33:19 | |
# Oh o-o-oh! | 0:33:20 | 0:33:23 | |
# Love is required whenever he's hired | 0:33:24 | 0:33:27 | |
# It comes just before the kill | 0:33:27 | 0:33:30 | |
# No-one can catch him No hit man can match him | 0:33:30 | 0:33:34 | |
# For his million-dollar skill | 0:33:34 | 0:33:37 | |
# One golden shot! | 0:33:37 | 0:33:38 | |
# And another poor victim | 0:33:38 | 0:33:40 | |
# Has come to a glittering end | 0:33:40 | 0:33:45 | |
# If you want to get rid of someone | 0:33:45 | 0:33:47 | |
# The man with the golden gun | 0:33:47 | 0:33:50 | |
# Will get it done! | 0:33:50 | 0:33:53 | |
# He'll shoot everyone! | 0:33:53 | 0:33:56 | |
# With his golden gun! # | 0:33:57 | 0:34:06 | |
APPLAUSE | 0:34:08 | 0:34:13 | |
In Roger's next outing - The Spy Who Loved Me - | 0:34:19 | 0:34:23 | |
the Aston Martin has been part-exchanged for | 0:34:23 | 0:34:25 | |
a Lotus with a sub-aquatic capability. | 0:34:25 | 0:34:30 | |
The largest sound studio in the world, built at Pinewood, | 0:34:30 | 0:34:34 | |
had to be flooded to contain three stolen nuclear submarines. | 0:34:34 | 0:34:40 | |
As usual, the action is frantic, | 0:34:40 | 0:34:43 | |
the special effects are outstanding | 0:34:43 | 0:34:46 | |
and James gets the girl. | 0:34:46 | 0:34:48 | |
Now, isn't that unusual?! | 0:34:49 | 0:34:51 | |
LAUGHTER | 0:34:51 | 0:34:53 | |
# Nobody does it better | 0:35:01 | 0:35:06 | |
# Makes me feels sad for the rest | 0:35:08 | 0:35:13 | |
# Nobody does it half as good as you | 0:35:14 | 0:35:22 | |
# Baby, you're the best | 0:35:22 | 0:35:29 | |
# I wasn't looking | 0:35:29 | 0:35:32 | |
# But somehow you found me | 0:35:32 | 0:35:35 | |
# I tried to hide from Your love light | 0:35:35 | 0:35:41 | |
# But like heaven above me | 0:35:42 | 0:35:45 | |
# The spy who loved me | 0:35:45 | 0:35:48 | |
# Is keeping all my secrets safe tonight | 0:35:48 | 0:35:55 | |
# And nobody does it better | 0:35:56 | 0:36:02 | |
# Though sometimes I wish someone could | 0:36:03 | 0:36:08 | |
# Nobody does it quite the way you do | 0:36:10 | 0:36:18 | |
# Why d'you have to be so good? | 0:36:18 | 0:36:23 | |
# The way that you hold me | 0:36:23 | 0:36:27 | |
# Whenever you hold me | 0:36:27 | 0:36:30 | |
# There's some kind of magic inside you | 0:36:31 | 0:36:37 | |
# That keeps me from running | 0:36:37 | 0:36:40 | |
# But just keep it coming | 0:36:40 | 0:36:43 | |
# How'd you learn to do the things you do? | 0:36:43 | 0:36:50 | |
# And nobody does it better | 0:36:50 | 0:36:56 | |
# Makes me feel sad for the rest | 0:36:58 | 0:37:03 | |
# Nobody does it half as good as you | 0:37:04 | 0:37:12 | |
# Baby, baby | 0:37:12 | 0:37:16 | |
# Darling, you're the best | 0:37:16 | 0:37:19 | |
# Oh, baby, you're the best | 0:37:22 | 0:37:26 | |
# Oh, darling, you're the best | 0:37:28 | 0:37:32 | |
# Oh, baby, you're the best | 0:37:35 | 0:37:39 | |
# Oh, woah, woah | 0:37:42 | 0:37:44 | |
# Baby, you're the best | 0:37:44 | 0:37:49 | |
# Angel, you're the best | 0:37:51 | 0:37:57 | |
# Darling, you're the best | 0:37:57 | 0:38:03 | |
# Baby | 0:38:03 | 0:38:07 | |
# Oh, baby, you're the best! # | 0:38:08 | 0:38:16 | |
APPLAUSE | 0:38:16 | 0:38:21 | |
DROWNED OUT BY APPLAUSE | 0:38:32 | 0:38:34 | |
RHYTHMIC DRUMBEAT | 0:38:46 | 0:38:49 | |
AUDIENCE CLAPS IN TIME | 0:38:49 | 0:38:50 | |
# Meeting you | 0:39:07 | 0:39:09 | |
# With a view to a kill | 0:39:09 | 0:39:13 | |
# Face to face in secret places Feel the chill | 0:39:14 | 0:39:20 | |
# Nightfall covers me | 0:39:28 | 0:39:31 | |
# But you know the plans I'm making | 0:39:31 | 0:39:35 | |
# Still oversee | 0:39:35 | 0:39:38 | |
# Could it be the whole world opening wide? | 0:39:38 | 0:39:44 | |
# A scared "Why?" | 0:39:45 | 0:39:47 | |
# A mystery gaping inside | 0:39:47 | 0:39:51 | |
# A weekend's "Why?" | 0:39:52 | 0:39:54 | |
# But can we dance into the fire? | 0:39:54 | 0:39:58 | |
# The fatal kiss is all we need | 0:39:58 | 0:40:03 | |
# Dance into the fire | 0:40:03 | 0:40:06 | |
# With fatal sounds of broken dreams | 0:40:06 | 0:40:11 | |
# Dance into the fire | 0:40:11 | 0:40:13 | |
# That fatal kiss is all we need | 0:40:13 | 0:40:17 | |
# Dance into the fire... # | 0:40:17 | 0:40:22 | |
# ..A choice for you Is the view to a kill | 0:40:31 | 0:40:37 | |
# Between the shades Assassination - feel the chill | 0:40:37 | 0:40:45 | |
# First, the crystal tears | 0:40:51 | 0:40:55 | |
# Fall as snowflakes on your body | 0:40:55 | 0:40:59 | |
# First time in years | 0:40:59 | 0:41:02 | |
# To feel on skin a lover's rosy stain | 0:41:02 | 0:41:08 | |
# A chance to find A phoenix for the flame | 0:41:09 | 0:41:14 | |
# A chance to die | 0:41:16 | 0:41:18 | |
# But can we dance into the fire? | 0:41:19 | 0:41:23 | |
# The fatal kiss is all we need | 0:41:23 | 0:41:27 | |
# Dance into the fire | 0:41:27 | 0:41:29 | |
# To fatal sounds of broken dreams | 0:41:29 | 0:41:34 | |
# Dance into the fire | 0:41:34 | 0:41:37 | |
# The fatal kiss is all we need | 0:41:37 | 0:41:41 | |
# Dance into the fire | 0:41:41 | 0:41:44 | |
# When all we see | 0:41:44 | 0:41:45 | |
# Is the view to a kill... # | 0:41:45 | 0:41:59 | |
CHEERING AND APPLAUSE | 0:42:02 | 0:42:06 | |
The role of Bond was about to fall vacant. | 0:42:15 | 0:42:19 | |
As much as Roger loved playing him, | 0:42:19 | 0:42:22 | |
during the shooting of A View To A Kill, | 0:42:22 | 0:42:24 | |
he realised he was considerably older than | 0:42:24 | 0:42:28 | |
the mother of his co-star. | 0:42:28 | 0:42:30 | |
LAUGHTER | 0:42:30 | 0:42:32 | |
He quickly gave notice to retire from the role. | 0:42:32 | 0:42:34 | |
Thankfully, he didn't have to rely on Hugo Drax | 0:42:34 | 0:42:39 | |
from the space-age Moonraker to take care of him in his dotage. | 0:42:39 | 0:42:43 | |
# Where are you? | 0:43:08 | 0:43:12 | |
# Why do you hide? | 0:43:13 | 0:43:17 | |
# Where is that moonlight trail That leads to your side? | 0:43:19 | 0:43:28 | |
# Just like the Moonraker goes | 0:43:28 | 0:43:35 | |
# In search of his dream of gold | 0:43:35 | 0:43:41 | |
# I search for love | 0:43:41 | 0:43:45 | |
# For someone to have and hold | 0:43:48 | 0:43:52 | |
# I've seen your smile | 0:43:52 | 0:43:58 | |
# In a thousand dreams | 0:43:58 | 0:44:04 | |
# Felt your kiss | 0:44:05 | 0:44:09 | |
# And it always seems | 0:44:09 | 0:44:15 | |
# You love me | 0:44:15 | 0:44:21 | |
# You...love | 0:44:21 | 0:44:27 | |
# Me | 0:44:27 | 0:44:34 | |
# Where are you? | 0:44:39 | 0:44:44 | |
# When will we meet? | 0:44:44 | 0:44:49 | |
# Take my unfinished life | 0:44:51 | 0:44:54 | |
# And make it complete | 0:44:54 | 0:44:59 | |
# Just like the Moonraker knows | 0:44:59 | 0:45:06 | |
# His dream will come true some day | 0:45:08 | 0:45:13 | |
# I know that you | 0:45:13 | 0:45:19 | |
# Are only a kiss away | 0:45:19 | 0:45:23 | |
# I've seen your smile | 0:45:23 | 0:45:29 | |
# In a thousand dreams | 0:45:29 | 0:45:35 | |
# Felt your touch | 0:45:36 | 0:45:40 | |
# And it always seems | 0:45:40 | 0:45:46 | |
# You love me | 0:45:46 | 0:45:52 | |
# You love | 0:45:52 | 0:45:58 | |
# Me. # | 0:45:58 | 0:46:11 | |
APPLAUSE | 0:46:12 | 0:46:17 | |
Before Roger's retirement took effect, | 0:46:25 | 0:46:29 | |
he made For Your Eyes Only, | 0:46:29 | 0:46:31 | |
which was regarded as his finest Bond film. | 0:46:31 | 0:46:34 | |
By this stage, more than half the world's population | 0:46:35 | 0:46:39 | |
had seen a James Bond film - | 0:46:39 | 0:46:41 | |
making it the most lucrative series in screen history. | 0:46:41 | 0:46:46 | |
A memorable quote | 0:46:46 | 0:46:47 | |
is Bond entering a confessional booth for a meeting with Q. | 0:46:47 | 0:46:52 | |
Bond confesses, "Forgive me, Father, for I have sinned." | 0:46:52 | 0:46:58 | |
And Q replies, "That's putting it mildly, 007(!)" | 0:46:59 | 0:47:04 | |
# For your eyes only | 0:47:22 | 0:47:26 | |
# Can see me through the night | 0:47:26 | 0:47:29 | |
# For your eyes only | 0:47:32 | 0:47:35 | |
# I never need to hide | 0:47:35 | 0:47:38 | |
# You can see so much in me | 0:47:42 | 0:47:45 | |
# So much in me that's new | 0:47:45 | 0:47:49 | |
# I never felt till I looked at you | 0:47:51 | 0:47:58 | |
# For your eyes only | 0:47:58 | 0:48:02 | |
# Only for you | 0:48:02 | 0:48:05 | |
# You'll see what no-one else can see | 0:48:05 | 0:48:08 | |
# Now I'm breaking free For your eyes only | 0:48:08 | 0:48:14 | |
# Only for you | 0:48:14 | 0:48:16 | |
# The love I know you need in me | 0:48:16 | 0:48:20 | |
# The fantasy you freed in me | 0:48:20 | 0:48:23 | |
# Only for you | 0:48:23 | 0:48:27 | |
# Only for you | 0:48:27 | 0:48:32 | |
# For your eyes only | 0:48:40 | 0:48:43 | |
# The nights are never cold | 0:48:43 | 0:48:47 | |
# You really know me | 0:48:49 | 0:48:53 | |
# That's all I need to know | 0:48:53 | 0:48:56 | |
# Maybe I'm an open book | 0:48:59 | 0:49:02 | |
# Because I know you're mine | 0:49:02 | 0:49:08 | |
# But you don't need to read between the lines | 0:49:08 | 0:49:15 | |
# For your eyes only | 0:49:15 | 0:49:19 | |
# Only for you | 0:49:19 | 0:49:22 | |
# You'll see what no-one else can see | 0:49:22 | 0:49:25 | |
# Now I'm breaking free | 0:49:25 | 0:49:28 | |
# For your eyes only | 0:49:28 | 0:49:31 | |
# Only for you | 0:49:31 | 0:49:33 | |
# The passions that collide in me | 0:49:33 | 0:49:37 | |
# The wild abandoned side of me | 0:49:37 | 0:49:40 | |
# Only for you | 0:49:40 | 0:49:44 | |
# For your eyes only. # | 0:49:44 | 0:49:55 | |
APPLAUSE | 0:50:08 | 0:50:12 | |
1983 was the year of the battle of the Bonds. | 0:50:22 | 0:50:26 | |
Roger was filming Octopussy. | 0:50:26 | 0:50:30 | |
No controversy about the word this time round(!) | 0:50:30 | 0:50:33 | |
And Sean, having said he would never play Bond again, | 0:50:33 | 0:50:37 | |
was shooting Never Say Never Again. | 0:50:37 | 0:50:40 | |
The screenplay was written by Porridge writers | 0:50:41 | 0:50:44 | |
Dick Clement and Ian La Frenais, | 0:50:44 | 0:50:47 | |
and featured such gems as Q's, "Good to see you, Mr Bond! | 0:50:47 | 0:50:53 | |
"Things have been awfully dull around here. | 0:50:53 | 0:50:56 | |
"Now that YOU'RE on this, | 0:50:56 | 0:50:58 | |
"I hope we're going to have some gratuitous sex and violence." | 0:50:58 | 0:51:03 | |
LAUGHTER | 0:51:03 | 0:51:04 | |
# Never | 0:51:04 | 0:51:05 | |
# Never say never again | 0:51:05 | 0:51:08 | |
# Never, never say never again | 0:51:08 | 0:51:12 | |
# You walk in a room | 0:51:29 | 0:51:33 | |
# A woman can feel the heat | 0:51:33 | 0:51:36 | |
# One look is a guarantee | 0:51:36 | 0:51:39 | |
# Nights will be long and sweet | 0:51:39 | 0:51:43 | |
# The message is clear | 0:51:43 | 0:51:47 | |
# Like nothing I've ever known | 0:51:47 | 0:51:50 | |
# But from all that I hear | 0:51:50 | 0:51:53 | |
# Forget about long-range plans | 0:51:53 | 0:51:57 | |
# Cos this man's got his own | 0:51:57 | 0:52:00 | |
# To get mixed up with | 0:52:00 | 0:52:04 | |
# A man who says never | 0:52:04 | 0:52:09 | |
# May be big trouble | 0:52:09 | 0:52:13 | |
# But then I just could be the woman to take you | 0:52:13 | 0:52:21 | |
# And make you never say never again | 0:52:23 | 0:52:27 | |
# Never, never say never again | 0:52:27 | 0:52:31 | |
# Never, never say never again | 0:52:31 | 0:52:34 | |
# Never, never say never again | 0:52:34 | 0:52:38 | |
# Never, never say never again | 0:52:38 | 0:52:41 | |
# You've got all the moves | 0:52:41 | 0:52:45 | |
# But baby I've got them too | 0:52:45 | 0:52:48 | |
# No matter your attitude or your mood I'll come through | 0:52:48 | 0:52:55 | |
# The touch of your voice | 0:52:55 | 0:52:59 | |
# The feel of your eyes on me | 0:52:59 | 0:53:02 | |
# You give me no choice | 0:53:02 | 0:53:06 | |
# I know that there's danger there | 0:53:06 | 0:53:08 | |
# I don't care, let it be | 0:53:08 | 0:53:12 | |
# To get it bad with a man who says never | 0:53:12 | 0:53:20 | |
# May have no future but then | 0:53:21 | 0:53:27 | |
# I just could be the woman to make you | 0:53:27 | 0:53:34 | |
# And take you | 0:53:34 | 0:53:36 | |
# Never say never again | 0:53:36 | 0:53:40 | |
# I'll beg you | 0:53:40 | 0:53:42 | |
# I'll get you | 0:53:42 | 0:53:44 | |
# I'll make you | 0:53:44 | 0:53:46 | |
# I'll take you | 0:53:46 | 0:53:47 | |
# I'll reach you | 0:53:47 | 0:53:49 | |
# I'll teach you. # | 0:53:49 | 0:53:54 | |
APPLAUSE | 0:53:58 | 0:54:02 | |
Now, Timothy Dalton took up the baton from Roger Moore | 0:54:08 | 0:54:13 | |
in The Living Daylights. | 0:54:13 | 0:54:16 | |
Back to cigarettes, back to the Aston Martin, | 0:54:16 | 0:54:19 | |
out with the cigar and, strangely for Bond, | 0:54:19 | 0:54:23 | |
far more chaste - that's spelt with a "T". | 0:54:23 | 0:54:27 | |
# Hey driver, where we going? | 0:54:39 | 0:54:43 | |
# I swear my nerves are showing | 0:54:43 | 0:54:47 | |
# Set your hopes up way too high | 0:54:47 | 0:54:50 | |
# The living's in the way we die | 0:54:50 | 0:54:56 | |
# Comes the morning and the headlight fades away | 0:55:00 | 0:55:06 | |
# 100,000 people I'm the one they frame | 0:55:08 | 0:55:13 | |
# I've been waiting long for one of us to say | 0:55:14 | 0:55:20 | |
# Save the darkness Let it never fade away | 0:55:21 | 0:55:28 | |
# The living daylights | 0:55:28 | 0:55:30 | |
# Hey, the living daylights | 0:55:33 | 0:55:39 | |
# All right, hold on tight now | 0:55:44 | 0:55:47 | |
# It's down, down to the wire | 0:55:47 | 0:55:50 | |
# Get my hopes way too high | 0:55:50 | 0:55:53 | |
# The living's in the way we die | 0:55:53 | 0:56:00 | |
# Comes the morning and the headlight fades away | 0:56:04 | 0:56:10 | |
# 100,000 people I'm the one they blame | 0:56:11 | 0:56:18 | |
# I've been waiting long For one of us to say | 0:56:18 | 0:56:25 | |
# Save the darkness Let it never fade away-y-y | 0:56:25 | 0:56:32 | |
# The living daylights | 0:56:32 | 0:56:34 | |
# Hey, the living daylights | 0:56:36 | 0:56:43 | |
# Hey, the living daylights | 0:56:43 | 0:56:50 | |
# Comes the morning and the daylight fades away | 0:57:18 | 0:57:25 | |
# A hundred thousand people I'm the one they blame | 0:57:25 | 0:57:32 | |
# The living daylights | 0:57:32 | 0:57:34 | |
# Hey, the living daylights | 0:57:36 | 0:57:44 | |
# The living daylights | 0:57:46 | 0:57:49 | |
# The living daylights | 0:57:49 | 0:57:53 | |
# The living daylights. # | 0:57:53 | 0:57:59 | |
APPLAUSE | 0:58:03 | 0:58:06 | |
Timothy Dalton's following film, A Licence to Kill, | 0:58:11 | 0:58:16 | |
was originally called Licence Revoked. | 0:58:16 | 0:58:20 | |
Rather apt as, for legal reasons, | 0:58:20 | 0:58:22 | |
it was the last we would see of Bond for six years | 0:58:22 | 0:58:26 | |
and Timothy Dalton was to relinquish his licence for good. | 0:58:26 | 0:58:31 | |
Desmond "Q" Llewelyn plays his biggest ever role in a Bond film, | 0:58:32 | 0:58:37 | |
as 007 resigns from MI6 | 0:58:37 | 0:58:41 | |
and is forced to become a rogue agent. | 0:58:41 | 0:58:44 | |
Q surreptitiously arms his former colleague, | 0:58:44 | 0:58:48 | |
flying in with more and more gadgets. | 0:58:48 | 0:58:51 | |
How did he get them through customs? | 0:58:51 | 0:58:53 | |
LAUGHTER | 0:58:53 | 0:58:55 | |
# Ooh | 0:59:08 | 0:59:12 | |
# Ooh-ooh-ooh hoo-hoo-hoo | 0:59:12 | 0:59:15 | |
# Oh oh-whoa | 0:59:18 | 0:59:22 | |
# Oh, I feel I've got to hold on to your love | 0:59:24 | 0:59:31 | |
# Ooh | 0:59:31 | 0:59:32 | |
# Hey baby | 0:59:34 | 0:59:36 | |
# Thought you were the one who tried to run away | 0:59:36 | 0:59:42 | |
# Oh, baby | 0:59:46 | 0:59:48 | |
# Wasn't I the one who made you want to you stay? | 0:59:48 | 0:59:56 | |
# Please don't bet that you'll ever escape me | 0:59:57 | 1:00:03 | |
# Once I get my sights on you | 1:00:03 | 1:00:06 | |
# Got a licence to kill | 1:00:06 | 1:00:10 | |
# And you know I'm going straight for your heart | 1:00:10 | 1:00:16 | |
# Got a licence to kill | 1:00:19 | 1:00:22 | |
# Anyone who tries to tear us apart | 1:00:22 | 1:00:29 | |
# Ooh licence to kill | 1:00:32 | 1:00:38 | |
# Oh whoa-ho-oh-oh | 1:00:41 | 1:00:45 | |
# Hey baby | 1:00:47 | 1:00:50 | |
# I think you need a friend to stand up by your side | 1:00:50 | 1:00:56 | |
# Yes you do now | 1:00:56 | 1:00:57 | |
# Oh, baby | 1:01:00 | 1:01:02 | |
# Now you can depend on me to make things right | 1:01:02 | 1:01:09 | |
# Please don't bet that you'll ever escape me | 1:01:11 | 1:01:16 | |
# Once I get my sights on you | 1:01:17 | 1:01:20 | |
# Got a licence to kill | 1:01:20 | 1:01:24 | |
# And you know I'm going straight for your heart | 1:01:24 | 1:01:30 | |
# Got a licence to kill | 1:01:33 | 1:01:36 | |
# Anyone who tries to tear us apart | 1:01:36 | 1:01:42 | |
# I've got a licence to kill | 1:01:45 | 1:01:48 | |
# And you know I'm going straight for your heart | 1:01:48 | 1:01:55 | |
# Oh-oh yeah | 1:01:56 | 1:01:57 | |
# Got a licence to kill anyone who tries to tear us apart | 1:01:57 | 1:02:08 | |
# Say that somebody tries to make a move on you | 1:02:11 | 1:02:14 | |
# In the blink of an eye I will be there too | 1:02:17 | 1:02:21 | |
# You better know why I'm gonna make them pay | 1:02:23 | 1:02:29 | |
# Until their dying day | 1:02:29 | 1:02:32 | |
# Until their dying day | 1:02:32 | 1:02:34 | |
# Until their dying day | 1:02:35 | 1:02:40 | |
# Oh-ah-oh | 1:02:40 | 1:02:44 | |
# Got a licence to kill and you know I'm going straight for your heart | 1:02:44 | 1:02:53 | |
# Got a licence to kill anyone who tries to tear us apart | 1:02:56 | 1:03:05 | |
# Got a licence to kill | 1:03:09 | 1:03:12 | |
# And you know I'm going straight for your heart | 1:03:12 | 1:03:19 | |
# Got a licence to kill anyone who tries to tear us apart | 1:03:21 | 1:03:31 | |
# Ooh-ooh woo-woo-woo | 1:03:34 | 1:03:37 | |
# Licence to kill | 1:03:37 | 1:03:43 | |
# Oh you know I gotta hold on | 1:03:45 | 1:03:49 | |
# I've got a licence to kill | 1:03:49 | 1:03:53 | |
(# Kill, kill, kill, kill... #) | 1:03:58 | 1:04:01 | |
APPLAUSE | 1:04:01 | 1:04:04 | |
By mutual agreement, Dalton withdrew from the Bond role - | 1:04:15 | 1:04:21 | |
Pierce Brosnan became Bond. | 1:04:21 | 1:04:24 | |
In a revolutionary move, | 1:04:24 | 1:04:26 | |
Judi Dench had become M, the head of the Secret Service | 1:04:26 | 1:04:31 | |
and Samantha Bond was playing Moneypenny in a new look James Bond. | 1:04:31 | 1:04:37 | |
# See reflections on the water | 1:05:01 | 1:05:05 | |
# More than darkness in the depths | 1:05:05 | 1:05:10 | |
# See him surface in every shadow | 1:05:10 | 1:05:14 | |
# On the wind I feel his breath | 1:05:14 | 1:05:19 | |
# Goldeneye I found his weakness | 1:05:19 | 1:05:24 | |
# Goldeneye he'll do what I please | 1:05:24 | 1:05:28 | |
# Goldeneye no time for weakness | 1:05:28 | 1:05:32 | |
# But a bitter kiss will bring him to his knees | 1:05:32 | 1:05:37 | |
# You'll never know how I watched you from the shadows as a child | 1:05:37 | 1:05:45 | |
# You'll never know how it feels to be the one who's left behind | 1:05:47 | 1:05:56 | |
# And you'll never know the days | 1:05:56 | 1:06:00 | |
# The nights, the tears The tears I've cried | 1:06:00 | 1:06:06 | |
# But now my time has come and time Time is not on your side | 1:06:06 | 1:06:15 | |
# See him move through smoke and mirrors | 1:06:19 | 1:06:23 | |
# Feel his presence in the crowd | 1:06:23 | 1:06:28 | |
# Other girls they gather around him | 1:06:28 | 1:06:32 | |
# If I had him I wouldn't let him out | 1:06:32 | 1:06:37 | |
# Goldeneye not lace or leather | 1:06:37 | 1:06:41 | |
# Golden chains take him to the spot | 1:06:41 | 1:06:46 | |
# Goldeneye I'll show him forever | 1:06:46 | 1:06:50 | |
# It'll take forever to see what I've got | 1:06:50 | 1:06:55 | |
# You'll never know how I watched you from the shadows as a child | 1:06:55 | 1:07:03 | |
# And you'll never know how it feels to be so close and be denied | 1:07:05 | 1:07:13 | |
# It's a golden honey trap | 1:07:14 | 1:07:17 | |
# I've got for you tonight | 1:07:17 | 1:07:22 | |
# Revenge it's a kiss This time I won't miss | 1:07:22 | 1:07:26 | |
# Now I've got you in my sight | 1:07:26 | 1:07:32 | |
# With a Goldeneye | 1:07:35 | 1:07:39 | |
# Golden, goldeneye | 1:07:39 | 1:07:43 | |
# With a goldeneye | 1:07:44 | 1:07:46 | |
# Goldeneye | 1:07:48 | 1:07:51 | |
# With a goldeneye. # | 1:07:52 | 1:07:56 | |
APPLAUSE | 1:07:56 | 1:07:58 | |
Brosnan had revitalised the Bond franchise | 1:08:08 | 1:08:13 | |
but a series of painful injuries had taken their toll on the star. | 1:08:13 | 1:08:18 | |
Like Frank Spencer, he did all his own stunts - | 1:08:18 | 1:08:23 | |
so did I in The Avengers, if your memory's long enough! | 1:08:23 | 1:08:26 | |
LAUGHTER AND APPLAUSE | 1:08:26 | 1:08:27 | |
So... | 1:08:27 | 1:08:29 | |
CHEERING AND APPLAUSE | 1:08:29 | 1:08:31 | |
So what would it take for him to continue reprising the role? | 1:08:34 | 1:08:38 | |
Well, frankly, there are occasions where the world is not enough. | 1:08:38 | 1:08:44 | |
# I know how to hurt | 1:09:06 | 1:09:09 | |
# And I know how to heal | 1:09:11 | 1:09:15 | |
# I know what to show and what to conceal | 1:09:16 | 1:09:23 | |
# I know when to talk | 1:09:26 | 1:09:29 | |
# And I know when to touch | 1:09:30 | 1:09:34 | |
# No-one ever died from wanting too much | 1:09:36 | 1:09:43 | |
# The world is not enough | 1:09:43 | 1:09:46 | |
# But it is such a perfect place to start, my love | 1:09:48 | 1:09:53 | |
# And if you're strong enough | 1:09:53 | 1:09:57 | |
# Together we can take the world apart, my love | 1:09:57 | 1:10:04 | |
# People like us | 1:10:06 | 1:10:08 | |
# Know how to survive | 1:10:10 | 1:10:14 | |
# There's no point in living | 1:10:15 | 1:10:18 | |
# If you can't feel alive | 1:10:18 | 1:10:22 | |
# We know when to kiss | 1:10:25 | 1:10:29 | |
# And we know when to kill | 1:10:30 | 1:10:34 | |
# If we can't have it all | 1:10:35 | 1:10:37 | |
# Then nobody will | 1:10:37 | 1:10:42 | |
# The world is not enough | 1:10:42 | 1:10:46 | |
# But it is such a perfect place to start, my love | 1:10:47 | 1:10:53 | |
# And if you're strong enough | 1:10:53 | 1:10:56 | |
# Together we can take the world apart, my love | 1:10:56 | 1:11:03 | |
# I feel safe | 1:11:05 | 1:11:08 | |
# I feel scared | 1:11:09 | 1:11:13 | |
# I feel ready | 1:11:14 | 1:11:19 | |
# And yet unprepared | 1:11:19 | 1:11:21 | |
# The world is not enough | 1:11:21 | 1:11:26 | |
But it is such a perfect place to start, my love | 1:11:26 | 1:11:32 | |
# And if you're strong enough | 1:11:32 | 1:11:35 | |
# Together we can take the world apart, my love | 1:11:35 | 1:11:41 | |
# The world is not enough | 1:11:41 | 1:11:46 | |
# The world is not enough | 1:11:46 | 1:11:50 | |
# No nowhere, not enough | 1:11:50 | 1:11:56 | |
# The world is not enough. # | 1:11:56 | 1:12:03 | |
APPLAUSE | 1:14:06 | 1:14:09 | |
That song was Madonna's sterling contribution to 'Die Another Day'. | 1:14:11 | 1:14:16 | |
Now came the time to redeem the one that got away. 'Casino Royale'. | 1:14:18 | 1:14:22 | |
And the time to find a new Bond. | 1:14:23 | 1:14:26 | |
But who could be next to play the tall, dark, handsome spy? | 1:14:27 | 1:14:31 | |
From Connery to Moore, Lazenby to Dalton, | 1:14:33 | 1:14:37 | |
from Pierce to piercing blue eyes. | 1:14:37 | 1:14:41 | |
Daniel Craig took the crown. | 1:14:41 | 1:14:44 | |
And for the first time in history, Bond is blonde. | 1:14:44 | 1:14:49 | |
-LAUGHTER -But oh, so buffed! | 1:14:49 | 1:14:52 | |
LAUGHTER | 1:14:52 | 1:14:54 | |
APPLAUSE | 1:17:53 | 1:17:56 | |
'Another Way To Die' opens the 2008 Bond film, 'Quantum of Solace'. | 1:18:11 | 1:18:19 | |
And die it would have done if left to the reviewers. | 1:18:20 | 1:18:24 | |
Universally slated by the press, and yet loved by the public, | 1:18:24 | 1:18:29 | |
making this the biggest box-office hit of any Bond film in history. | 1:18:29 | 1:18:34 | |
-Until now! -LAUGHTER | 1:18:35 | 1:18:38 | |
# Another ringer With the slick trigger finger | 1:19:19 | 1:19:22 | |
# For Her Majesty | 1:19:22 | 1:19:24 | |
# Another one with the golden tongue | 1:19:26 | 1:19:29 | |
# Poisoning your fantasy | 1:19:29 | 1:19:31 | |
# Another bill from a killer Turned thriller | 1:19:32 | 1:19:36 | |
# To a tragedy | 1:19:36 | 1:19:37 | |
# A door left open A woman walking by | 1:19:37 | 1:19:41 | |
# A drop in the water A look in your eye | 1:19:41 | 1:19:44 | |
# A phone on the table A man on your side | 1:19:44 | 1:19:48 | |
# Or someone that you think That you can trust | 1:19:48 | 1:19:50 | |
# It's just another way to die | 1:19:50 | 1:19:54 | |
# Mmm, mmm, mmm | 1:19:59 | 1:20:03 | |
# Mmm, mmm, mmm | 1:20:05 | 1:20:10 | |
# Another tricky little gun Giving solace to the one | 1:20:12 | 1:20:15 | |
# That'll never see the sun shine | 1:20:15 | 1:20:19 | |
# Another inch of your life Sacrificed for your brother | 1:20:19 | 1:20:23 | |
# In the nick of time | 1:20:23 | 1:20:25 | |
# Another dirty money Heaven sent honey | 1:20:25 | 1:20:28 | |
# Turning on a dime | 1:20:28 | 1:20:30 | |
# A door left open A woman walking by | 1:20:30 | 1:20:34 | |
# A drop in the water A look in your eye | 1:20:34 | 1:20:37 | |
# A phone on the table A man on your side | 1:20:37 | 1:20:41 | |
# Or someone that you think That you can trust | 1:20:41 | 1:20:44 | |
# It's just another way to die | 1:20:44 | 1:20:48 | |
# You got to do or die | 1:20:50 | 1:20:53 | |
# Just another way | 1:20:53 | 1:20:57 | |
# Shoot 'em, bang, bang | 1:21:00 | 1:21:02 | |
# Another way | 1:21:02 | 1:21:04 | |
# Oh-oh-oh-oh-oh-oh-oh | 1:21:04 | 1:21:06 | |
# Oh-oh-oh-oh-oh-oh | 1:21:06 | 1:21:09 | |
# Oh-oh-oh-oh-oh-oh | 1:21:09 | 1:21:13 | |
# Oh-oh-oh-oh-oh-oh | 1:21:13 | 1:21:19 | |
# Oh | 1:21:22 | 1:21:23 | |
# Oh | 1:21:25 | 1:21:27 | |
# Oh | 1:21:28 | 1:21:29 | |
# Oh-oh-oh-oh-oh | 1:21:29 | 1:21:31 | |
# Another girl with her finger On the world | 1:21:31 | 1:21:34 | |
# Singing to you What you want to hear | 1:21:34 | 1:21:37 | |
# Another gun thrown down In surrender | 1:21:37 | 1:21:41 | |
# Took away your fear | 1:21:41 | 1:21:42 | |
# Another man there he stands Right behind you | 1:21:44 | 1:21:47 | |
# Looking in the mirror | 1:21:47 | 1:21:49 | |
# Yeah | 1:21:49 | 1:21:50 | |
# A door left open A woman walking by | 1:21:50 | 1:21:53 | |
# A drop in the water A look in your eye | 1:21:53 | 1:21:56 | |
# A phone on the table A man on your side | 1:21:56 | 1:22:00 | |
# Or someone that you think That you can trust | 1:22:00 | 1:22:03 | |
# It's just another way to die | 1:22:03 | 1:22:08 | |
# Is there another way | 1:22:10 | 1:22:12 | |
# Shoot 'em up, bang, bang | 1:22:15 | 1:22:17 | |
# Another way | 1:22:17 | 1:22:19 | |
# Hey | 1:22:19 | 1:22:21 | |
# Yeah | 1:22:23 | 1:22:25 | |
# Hey | 1:22:26 | 1:22:29 | |
# Oooh | 1:22:29 | 1:22:30 | |
# Another way to die Another way to die | 1:22:30 | 1:22:34 | |
# Another way Another way | 1:22:34 | 1:22:37 | |
# Another way | 1:22:37 | 1:22:38 | |
# Shoot 'em down, bang, bang | 1:22:38 | 1:22:40 | |
# Another way to die Another way to die. # | 1:22:40 | 1:22:43 | |
APPLAUSE | 1:22:45 | 1:22:47 | |
Eagerly anticipating Daniel Craig's third Bond film, | 1:22:59 | 1:23:03 | |
there seemed nowhere to go but up. | 1:23:03 | 1:23:06 | |
The stars were signed, the sets were designed, | 1:23:07 | 1:23:11 | |
but the MGM lion failed to roar. | 1:23:11 | 1:23:14 | |
As bankruptcy approached as fast as a laser to the groin... | 1:23:14 | 1:23:18 | |
LAUGHTER | 1:23:18 | 1:23:20 | |
..would the Bond franchise live to die another day? | 1:23:20 | 1:23:23 | |
To the rescue came Spyglass Entertainment | 1:23:25 | 1:23:29 | |
and MGM was bailed out. | 1:23:29 | 1:23:31 | |
And so James Bond survived his sky fall. | 1:23:32 | 1:23:35 | |
# This is the end | 1:24:09 | 1:24:13 | |
# Hold your breath and count to ten | 1:24:15 | 1:24:20 | |
# Feel the earth move and then | 1:24:22 | 1:24:27 | |
# Hear my heart burst again | 1:24:29 | 1:24:37 | |
# For this is the end | 1:24:37 | 1:24:40 | |
# I've drowned and dreamt this moment | 1:24:42 | 1:24:47 | |
# So overdue I owe them | 1:24:49 | 1:24:55 | |
# Swept away | 1:24:57 | 1:24:59 | |
# I'm stolen | 1:24:59 | 1:25:05 | |
# Let the sky fall | 1:25:05 | 1:25:08 | |
# When it crumbles | 1:25:08 | 1:25:11 | |
# We will stand tall | 1:25:11 | 1:25:14 | |
# And face it all together | 1:25:14 | 1:25:17 | |
# Let the sky fall | 1:25:17 | 1:25:21 | |
# When it crumbles | 1:25:21 | 1:25:24 | |
# We will stand tall | 1:25:24 | 1:25:27 | |
# And face it all together | 1:25:27 | 1:25:30 | |
# At skyfall | 1:25:30 | 1:25:34 | |
# At skyfall | 1:25:37 | 1:25:41 | |
# Skyfall is where it starts | 1:25:44 | 1:25:47 | |
# A thousand miles and poles apart | 1:25:50 | 1:25:55 | |
# Where worlds collide And days are dark | 1:25:56 | 1:26:00 | |
# You may have my number, they may take my name | 1:26:00 | 1:26:06 | |
# But they'll never have my heart | 1:26:06 | 1:26:10 | |
# Let the sky fall | 1:26:10 | 1:26:13 | |
# When it crumbles | 1:26:13 | 1:26:17 | |
# We will stand tall | 1:26:17 | 1:26:20 | |
# And face it all together | 1:26:20 | 1:26:24 | |
# Let the sky fall | 1:26:24 | 1:26:27 | |
# When it crumbles | 1:26:27 | 1:26:30 | |
# We will stand tall | 1:26:30 | 1:26:33 | |
# And face it all together | 1:26:33 | 1:26:37 | |
# At skyfall | 1:26:37 | 1:26:41 | |
# Let the sky fall | 1:26:52 | 1:26:56 | |
# When it crumbles | 1:26:56 | 1:26:59 | |
# We will stand tall | 1:26:59 | 1:27:01 | |
# Where you go I go | 1:27:03 | 1:27:06 | |
# What you see I see | 1:27:06 | 1:27:09 | |
# I know I'd never be me | 1:27:09 | 1:27:13 | |
# Without the security | 1:27:13 | 1:27:17 | |
# Of your loving arms | 1:27:17 | 1:27:20 | |
# Keeping me from harm | 1:27:20 | 1:27:23 | |
# Put your hand in my hand | 1:27:23 | 1:27:26 | |
# And we'll stand | 1:27:26 | 1:27:30 | |
# Let the sky fall | 1:27:30 | 1:27:33 | |
# When it crumbles | 1:27:33 | 1:27:35 | |
# We will stand tall | 1:27:35 | 1:27:39 | |
# And face it all together | 1:27:39 | 1:27:42 | |
# Let the sky fall | 1:27:42 | 1:27:46 | |
# When it crumbles | 1:27:46 | 1:27:49 | |
# We will stand tall | 1:27:49 | 1:27:52 | |
# And face it all together | 1:27:52 | 1:27:54 | |
# At skyfall | 1:27:54 | 1:27:57 | |
# Let the sky fall | 1:27:57 | 1:28:00 | |
# We will stand tall | 1:28:03 | 1:28:08 | |
# At skyfall | 1:28:08 | 1:28:19 | |
# Oooh-oooh-oooh-oooh | 1:28:21 | 1:28:25 | |
# Oooh-oooh-oooh-oooh | 1:28:25 | 1:28:32 | |
APPLAUSE | 1:28:37 | 1:28:40 | |
Subtitles by Red Bee Media Ltd | 1:29:09 | 1:29:11 |