0:00:02 > 0:00:03Just 20 miles from London,
0:00:03 > 0:00:05in a quiet corner of Buckinghamshire,
0:00:05 > 0:00:07lies 90 acres of land
0:00:07 > 0:00:10that is Britain's answer to Hollywood.
0:00:11 > 0:00:13Hidden by trees and surrounded by fences,
0:00:13 > 0:00:17Pinewood Studios clearly guards its secrets.
0:00:18 > 0:00:22Until now, as I've been given the keys to the kingdom!
0:00:22 > 0:00:26I've finally got the chance to explore this incredible place,
0:00:26 > 0:00:30and discover the magic behind some of the greatest movies ever made.
0:00:35 > 0:00:37The most memorable moments in screen history
0:00:37 > 0:00:39have been made here at Pinewood...
0:00:42 > 0:00:44..and as it approaches its 80th birthday,
0:00:44 > 0:00:47I'm about to share its remarkable story.
0:00:47 > 0:00:49# Oh, me ol' bam-boo, me ol' bamboo
0:00:49 > 0:00:52# You'd better never bother with me ol' bamboo...#
0:00:52 > 0:00:55It's an unlikely tale of how a flour mill owner from Hull
0:00:55 > 0:00:57turned a dusty country pile
0:00:57 > 0:01:01into one of the largest and most influential studios in the world.
0:01:04 > 0:01:07Along the way, I'll meet the legendary stars it's created.
0:01:07 > 0:01:11I was "England's answer to Ava Gardner"
0:01:11 > 0:01:13and "the coffee-bar Jezebel."
0:01:13 > 0:01:15I loved that one!
0:01:15 > 0:01:18And I'll also seek out the unsung heroes behind the screen...
0:01:18 > 0:01:21One, two, three, four...
0:01:21 > 0:01:23..who will restage long-lost dance numbers...
0:01:24 > 0:01:27..reveal cutting-edge special effects...
0:01:28 > 0:01:32..and even persuade me to attempt my very first car stunt...
0:01:34 > 0:01:37..all leading to an ambitious underwater spectacular
0:01:37 > 0:01:39that will show just why Pinewood remains
0:01:39 > 0:01:41the beating heart of British film.
0:01:41 > 0:01:44GONG REVERBERATES
0:01:46 > 0:01:49I'm about to take you on a tour that will reveal the hidden mastery
0:01:49 > 0:01:52behind some of the most magical moments on screen.
0:02:04 > 0:02:06Welcome to Pinewood.
0:02:08 > 0:02:11Who said movie-making was glamorous?
0:02:11 > 0:02:13Once you get past the gates,
0:02:13 > 0:02:16you find yourself in this labyrinth of roads and backlots
0:02:16 > 0:02:18and anonymous-looking office buildings
0:02:18 > 0:02:21that surround Pinewood's 16 sound stages.
0:02:21 > 0:02:24Now, it might not look much to write home about
0:02:24 > 0:02:26until you discover the incredible stories
0:02:26 > 0:02:28waiting around every corner.
0:02:31 > 0:02:32While it may be hard to believe,
0:02:32 > 0:02:36this is a dream factory that has churned out my all-time
0:02:36 > 0:02:37favourite films -
0:02:37 > 0:02:40a staggering range of timeless classics
0:02:40 > 0:02:42from firm family favourites
0:02:42 > 0:02:44to big-budget blockbusters.
0:02:44 > 0:02:48The greatest names on-screen and off have passed through Pinewood,
0:02:48 > 0:02:52but there is one figure who has taken up permanent residence -
0:02:52 > 0:02:54a man who is my ultimate hero.
0:02:54 > 0:02:57- BOND THEME TUNE - Bond.
0:02:57 > 0:02:58James Bond.
0:02:58 > 0:02:59CHAMPAGNE CORK POPS
0:02:59 > 0:03:03The face may have changed, but the studio has remained the same.
0:03:03 > 0:03:06Moneypenny, what would I do without you?
0:03:06 > 0:03:08My problem is that you never do anything WITH me.
0:03:08 > 0:03:10It's a date.
0:03:10 > 0:03:14Pinewood has been the home of Bond for the past five decades
0:03:14 > 0:03:15and much of the action
0:03:15 > 0:03:19has been filmed on the world-famous sound stage dedicated to 007.
0:03:21 > 0:03:24One of the largest in the world, it was built in 1976
0:03:24 > 0:03:26to house the immense submarine sets
0:03:26 > 0:03:28from The Spy Who Loved Me.
0:03:28 > 0:03:31Since then, it's taken us to the Arctic...
0:03:31 > 0:03:32LOUD EXPLOSION
0:03:32 > 0:03:34..and deep underground.
0:03:37 > 0:03:39And the world waits with bated breath
0:03:39 > 0:03:42for Bond's latest assignment, in production here right now.
0:03:42 > 0:03:45BOND THEME
0:03:49 > 0:03:52The sound stages of Pinewood have been home to the most ambitious
0:03:52 > 0:03:54and iconic Bond set pieces,
0:03:54 > 0:03:57but arguably the most memorable scene took place out here,
0:03:57 > 0:04:00when Bond's Aston Martin spun through these narrow lanes
0:04:00 > 0:04:02and into cinema history.
0:04:03 > 0:04:06This, for me, is the greatest Bond film,
0:04:06 > 0:04:09and while I'll admit that this car chase required little more
0:04:09 > 0:04:11than a few cardboard boxes...
0:04:11 > 0:04:14RICOCHETING GUNFIRE
0:04:14 > 0:04:17..it began a rich tradition of heart-stopping car stunts.
0:04:17 > 0:04:20You can keep your Bond girls and your exotic locations,
0:04:20 > 0:04:24it's the action that keeps me coming back for more.
0:04:24 > 0:04:26And today I'm gonna learn just how it's done
0:04:26 > 0:04:29from one of the best in the business.
0:04:29 > 0:04:32Ben Collins is the go-to British stunt driver for Bond,
0:04:32 > 0:04:34and has got behind the wheel
0:04:34 > 0:04:37of some of the most spectacular vehicles on screen.
0:04:38 > 0:04:40Sadly, this isn't one of them.
0:04:45 > 0:04:46But with what I'm about to do to it,
0:04:46 > 0:04:49it's probably best that it's not top-of-the-range.
0:05:11 > 0:05:14Yes, THAT is what I'm about to attempt.
0:05:14 > 0:05:17When I was told that Pinewood had the perfect ROLL for me
0:05:17 > 0:05:19this wasn't what I had in mind!
0:05:21 > 0:05:23- Nicely done.- It's your ride.
0:05:23 > 0:05:26- Ben, nice to meet you. - Good to meet you.
0:05:26 > 0:05:28- So this is the beast? - This is your beast, yeah.
0:05:28 > 0:05:31It's a little bit "economy". It's only 15 years old.
0:05:31 > 0:05:33Other than that, just needs a wash. It's fine, just a bit grimy.
0:05:33 > 0:05:35It could do with a clean-up.
0:05:35 > 0:05:38Back to driving - I assumed most of that was done with CGI these days?
0:05:38 > 0:05:40It looks so much better when you do it for real.
0:05:40 > 0:05:43You think anyone could turn the car over in movie-style?
0:05:43 > 0:05:45Yeah, potentially anyone can do it.
0:05:45 > 0:05:47If you stick to the speed we set you, you'll be fine.
0:05:47 > 0:05:50The beauty of what we're doing with you is similar to what we do
0:05:50 > 0:05:52with the actors on the big screen, as well...
0:05:52 > 0:05:54Getting them as close to the action as possible.
0:05:54 > 0:05:58And for you to experience it, and launch one yourself, is awesome.
0:06:00 > 0:06:03While the team prepares the backlot for my stunt debut,
0:06:03 > 0:06:07I'm going to get some advice from another of Ben Collins' students -
0:06:07 > 0:06:09Miss Moneypenny.
0:06:09 > 0:06:10Just get clear!
0:06:12 > 0:06:14Naomie Harris has Ben to thank
0:06:14 > 0:06:16for putting her right in the heart of the action.
0:06:16 > 0:06:19While he sat on the roof and steered -
0:06:19 > 0:06:21all she had to do was hold on for dear life.
0:06:21 > 0:06:24There's a part of me that wishes I WAS driving,
0:06:24 > 0:06:25because you're so out of control.
0:06:25 > 0:06:28Because, obviously, Ben Collins is up top
0:06:28 > 0:06:31and he's doing all the driving and you have zero control.
0:06:31 > 0:06:33Because you are a passenger, effectively.
0:06:33 > 0:06:35That must've been genuinely dangerous.
0:06:35 > 0:06:37I'd have thought they wouldn't want to risk you.
0:06:37 > 0:06:39I would've thought so, as well!
0:06:39 > 0:06:41I didn't even know, they're like, "Yeah, you'll be in there."
0:06:41 > 0:06:43It's like, "Really?!"
0:06:43 > 0:06:46I thought they'd be shooting from afar and I'd be miles away. But no.
0:06:46 > 0:06:48He's got a stunt planned for me, apparently.
0:06:48 > 0:06:50Do you think I should trust him? Is he going to look after me?
0:06:50 > 0:06:53I think you're in the safest possible hands.
0:06:53 > 0:06:55And with the nicest man, as well.
0:06:55 > 0:06:57Anything goes wrong, I'm coming for you, Naomie!
0:06:59 > 0:07:03Naomie made quite the debut in Skyfall...
0:07:03 > 0:07:07Finally, the lovelorn secretary got to see some action.
0:07:07 > 0:07:08Take the bloody shot!
0:07:19 > 0:07:22'But today she's hot-foot from the set of Spectre.'
0:07:22 > 0:07:25Do you have some favourite scenes, some favourite moments
0:07:25 > 0:07:26in the Bond movies you were in?
0:07:26 > 0:07:29I really, really loved the casino scene in Skyfall.
0:07:36 > 0:07:40Because it was just like quintessential Bond movie -
0:07:40 > 0:07:43with all the extras so glamorous
0:07:43 > 0:07:45and being in this incredible location
0:07:45 > 0:07:48and wearing this gorgeous gown...
0:07:48 > 0:07:49Just magical.
0:07:50 > 0:07:53- And that was meant to be Macau, wasn't it?- Yeah.
0:07:53 > 0:07:55- But was that done here in Pinewood? - Here in Pinewood, yes.
0:07:55 > 0:07:58We can make anything happen here in Pinewood.
0:07:58 > 0:08:00There were, like, 31 sets that were built here
0:08:00 > 0:08:03just for Skyfall alone. It's crazy.
0:08:03 > 0:08:06And what sets have they built for... For the new one?
0:08:06 > 0:08:08Oh...wouldn't you like to know!
0:08:08 > 0:08:10The secrecy around the Bond films
0:08:10 > 0:08:12must be one of the toughest parts of the job.
0:08:12 > 0:08:15To be able to keep it quiet for as long as you have to, must be...
0:08:15 > 0:08:17Yeah, especially when everybody - like you! -
0:08:17 > 0:08:20is trying to get secrets out of us. It's really, really difficult.
0:08:20 > 0:08:23That's why I appreciate that today you said you'd tell us everything.
0:08:23 > 0:08:25- Did I really? - I thought that was the deal.
0:08:25 > 0:08:28- Really? Was that the deal? - How is Blofeld?
0:08:28 > 0:08:29Erm...
0:08:29 > 0:08:31THEY LAUGH
0:08:31 > 0:08:32- OK.- That was a very nice try.
0:08:32 > 0:08:34Yeah. You're good!
0:08:34 > 0:08:35Yeah. I'm skilled at this.
0:08:39 > 0:08:42Forensics finally released this.
0:08:42 > 0:08:43What is it?
0:08:43 > 0:08:46Personal effects they recovered from Skyfall.
0:08:50 > 0:08:51You've got a secret.
0:08:53 > 0:08:55Something you can't tell anyone.
0:08:56 > 0:08:58Because you don't trust anyone.
0:09:00 > 0:09:04Naomie has clearly been well trained to keep Bond's secrets -
0:09:04 > 0:09:06but there's one more thing I can try...
0:09:06 > 0:09:08BOND THEME MUSIC
0:09:08 > 0:09:10Breaking into Bond HQ.
0:09:10 > 0:09:13THEME CONTINUES
0:09:15 > 0:09:17Having made it through the door,
0:09:17 > 0:09:20frankly, the set isn't giving much away,
0:09:20 > 0:09:23so I'm hoping I can work my charm on Naomie's boss,
0:09:23 > 0:09:24the Big Cheese,
0:09:24 > 0:09:27the man who has been the guardian of Bond's legacy
0:09:27 > 0:09:29for the last 36 years -
0:09:29 > 0:09:31executive producer, Michael Wilson.
0:09:33 > 0:09:36'I was kinda hoping he'd be stroking a white cat.'
0:09:36 > 0:09:38Michael, thank you very much for having us here.
0:09:38 > 0:09:39It's so exciting being in Pinewood
0:09:39 > 0:09:42with the set of the latest Bond movie behind us.
0:09:42 > 0:09:45I read the rumours that there's a possible sequence in the new movie
0:09:45 > 0:09:46in Bognor Regis.
0:09:46 > 0:09:49- Now, I know you can't... - I can't reveal that.
0:09:49 > 0:09:52..you can't reveal that, but if one were -
0:09:52 > 0:09:55and, oh, happy day if it happens -
0:09:55 > 0:09:57but if we do see Bond finally hitting Bognor Regis,
0:09:57 > 0:10:00will he REALLY be there, or will Bognor Regis be recreated
0:10:00 > 0:10:02lovingly in the end of this space?
0:10:02 > 0:10:05I'd love to make it right here. Er, if we could.
0:10:05 > 0:10:07You can't tell us anything about Spectre, I guess,
0:10:07 > 0:10:08apart from the title?
0:10:08 > 0:10:12Yeah, the title of the movie we kept under wraps for a while.
0:10:12 > 0:10:13But now you know.
0:10:13 > 0:10:14That's out. Erm...
0:10:14 > 0:10:19We all know the song - it's going to be Chas and Dave, I believe?
0:10:19 > 0:10:21Let me guess... Something bad is happening...
0:10:21 > 0:10:24- Is something bad happening? - And Bond has to stop it.
0:10:24 > 0:10:26- So, Bond is... OK.- I know.
0:10:26 > 0:10:29And it all takes place in Bognor Regis.
0:10:29 > 0:10:30Largely on Earth?
0:10:30 > 0:10:33Or there might be a bit of space on this one?
0:10:33 > 0:10:34We have a meteor.
0:10:34 > 0:10:36There... We have a meteor.
0:10:36 > 0:10:38There you go! That's pretty good.
0:10:38 > 0:10:40That's more than I thought you'd tell us!
0:10:40 > 0:10:43'Having teased out a tiny hint
0:10:43 > 0:10:45'of what lies in store for Bond later in the year,'
0:10:45 > 0:10:48I've now got my own date with destiny.
0:10:51 > 0:10:53They are ready for me on the backlot.
0:10:53 > 0:10:55Unfortunately.
0:10:55 > 0:10:57Ben's colleague Derek Lea
0:10:57 > 0:10:59is the man who'll be in the hot seat beside me
0:10:59 > 0:11:03as I attempt my first - and possibly last - car roll.
0:11:03 > 0:11:06Jonathan, this is Derek. He's going on this journey with you.
0:11:06 > 0:11:09- Nice to meet you, Derek.- And you. - He's crashed a lot of cars.
0:11:09 > 0:11:12They've named scrapheaps after you, haven't they? Well experienced.
0:11:12 > 0:11:15- He's got the profile of someone who's crashed a lot of cars.- Yeah.
0:11:15 > 0:11:17I've got one of those faces you can't stop hitting.
0:11:17 > 0:11:19THEY LAUGH
0:11:19 > 0:11:21What are the risks?
0:11:21 > 0:11:24There's always... There's always a risk.
0:11:24 > 0:11:26But this car has been fully prepped.
0:11:26 > 0:11:29It's got Makrolon screens, roll bar,
0:11:29 > 0:11:31steel plates in the floor,
0:11:31 > 0:11:32steel plates in the ceiling,
0:11:32 > 0:11:34the airbags have been disabled,
0:11:34 > 0:11:37dummy fuel cell... The list goes on.
0:11:37 > 0:11:39Believe me, all you've got to do is enjoy it.
0:11:39 > 0:11:42- So, this is as safe as it could be. - It is.
0:11:42 > 0:11:45'I'd always thought I'd make a fantastic Bond -
0:11:45 > 0:11:49'but while I feel quietly confident that I will Die Another Day,
0:11:49 > 0:11:52'the ambulance and fire crews suggest everyone else is expecting
0:11:52 > 0:11:54'a Quantum of Solace.'
0:12:00 > 0:12:04'Lucky ol' Naomie just had to pretend to be driving -
0:12:04 > 0:12:07'unfortunately, this is going to be all too real.'
0:12:07 > 0:12:10Keep going, keep going, keep going, keep going, keep going,
0:12:10 > 0:12:12keep going... That's it. That's it.
0:12:12 > 0:12:14That's a good speed.
0:12:14 > 0:12:17'Incredibly, all I get is just 20 minutes of tuition
0:12:17 > 0:12:18'before I'm told I'm good to go.'
0:12:18 > 0:12:20- That's about right, yeah?- Yeah.
0:12:20 > 0:12:22You can go as fast as you want.
0:12:22 > 0:12:25It scrubs off speed so quick, once you hit that ramp,
0:12:25 > 0:12:27if you go any slower than that, it just...
0:12:27 > 0:12:30- Well, we should maybe go five miles faster. Maybe try for 30.- 30?
0:12:30 > 0:12:34- Yeah, what do you reckon?- OK. - Cos I think once you're committed,
0:12:34 > 0:12:36- you're committed, aren't you? - That's it.
0:12:38 > 0:12:40So everyone should clear, Abi.
0:12:42 > 0:12:45'What I had hoped would be a full celebration
0:12:45 > 0:12:47'of the last eight decades here at Pinewood
0:12:47 > 0:12:48'could be all over...
0:12:48 > 0:12:51'..oh...in about eight seconds!'
0:12:53 > 0:12:55Right, here we go.
0:13:01 > 0:13:04Go on, Jonathan, keep going, keep going, keep going, keep going,
0:13:04 > 0:13:05HIT IT! HIT IT!
0:13:09 > 0:13:11LONG BLEEP
0:13:11 > 0:13:12THEY LAUGH
0:13:12 > 0:13:15- Well done!- Well, that was fun!
0:13:15 > 0:13:18I don't think I'd rush to do it again, though.
0:13:19 > 0:13:20- LAUGHS:- We did it!
0:13:22 > 0:13:24That was a blinder! You got it back on its feet.
0:13:29 > 0:13:31Easy with that, it's a bit bent.
0:13:31 > 0:13:33Very good! Well done.
0:13:33 > 0:13:36- Fantastic. Great job.- Excellent. - It was fun. It was fun.
0:13:36 > 0:13:37Wow, look at that!
0:13:37 > 0:13:39We went to town on this. Wow.
0:13:41 > 0:13:43- How do you think you did? - I think I did OK.
0:13:43 > 0:13:45- I don't think my future lies in stunt work.- I disagree.
0:13:45 > 0:13:46I thought that was mega.
0:13:46 > 0:13:49Your practice runs were so controlled... You nailed it.
0:13:49 > 0:13:51I think I should've started earlier if I was going to do that.
0:13:51 > 0:13:54I don't think Derek's got anything to worry about just yet.
0:13:54 > 0:13:58While I admit it wasn't that fast, and I'm only mildly furious,
0:13:58 > 0:14:02let's sprinkle some Pinewood magic and see how it looks on film.
0:14:23 > 0:14:26It's certainly been a thrill to get a taste of the action
0:14:26 > 0:14:28in a studio that's created some of
0:14:28 > 0:14:31the greatest action heroes of all time.
0:14:31 > 0:14:33An unrivalled cast list
0:14:33 > 0:14:35of gun-toting...
0:14:36 > 0:14:37..death-defying...
0:14:40 > 0:14:43..heart-stopping giants of the silver screen.
0:14:47 > 0:14:50But the original hero of Pinewood was this man.
0:14:50 > 0:14:53ARCHIVE NARRATOR: J Arthur Rank, a successful industrialist
0:14:53 > 0:14:54with little movie background,
0:14:54 > 0:14:57Rank is one of the richest men in England -
0:14:57 > 0:14:59possessor of a huge industrial fortune
0:14:59 > 0:15:02which was derived primarily from a flour-milling business
0:15:02 > 0:15:03built up by his father.
0:15:05 > 0:15:09Sober, serious and a devout Methodist, for J Arthur Rank,
0:15:09 > 0:15:12movies were a way to spread the word of God.
0:15:13 > 0:15:17So when a canny building tycoon approached him with the idea
0:15:17 > 0:15:20of building a British film studio, all his prayers were answered.
0:15:22 > 0:15:26And the location for Britain's answer to Hollywood?
0:15:26 > 0:15:30A country estate in leafy Buckinghamshire, Heatherden Hall.
0:15:31 > 0:15:36An oasis of serenity and a welcome chance to shake off my whiplash.
0:15:40 > 0:15:42Walking here in these formal gardens,
0:15:42 > 0:15:45it's easy to forget that behind me lies thousands of square feet
0:15:45 > 0:15:48of backlots and sound stages, but it's this stately setting
0:15:48 > 0:15:52that gave Pinewood a touch of class over its American cousins.
0:15:52 > 0:15:56We might not be able to offer the sunshine and the palm trees
0:15:56 > 0:15:59but who can resist a slice of Downton Abbey?
0:15:59 > 0:16:02Construction began in 1935
0:16:02 > 0:16:05and you'd think with a location better suited to fox hunting
0:16:05 > 0:16:08than film-making, and a boss with little experience,
0:16:08 > 0:16:09it would start off small -
0:16:09 > 0:16:14but no, this was going to be big - really big!
0:16:14 > 0:16:16The supreme ambition of the studio
0:16:16 > 0:16:18is reflected in the name itself - Pinewood -
0:16:18 > 0:16:21clearly hoping to borrow some of Hollywood's Tinseltown glitter
0:16:21 > 0:16:24but as Rank himself was fond of pointing out,
0:16:24 > 0:16:27"Unlike the holly, which is the bush of a small tree,
0:16:27 > 0:16:30"the pine is big, strong and magnificent."
0:16:34 > 0:16:36With the opening of the Pinewood Studios
0:16:36 > 0:16:38at Iver Heath, Buckinghamshire,
0:16:38 > 0:16:41one of the finest and best equipped film studios in Europe is
0:16:41 > 0:16:44dedicated to British film production and the service of the screen.
0:16:44 > 0:16:47Along with the sound stages and extensive backlots,
0:16:47 > 0:16:52one of the first additions to the studio was this enormous water tank.
0:16:52 > 0:16:54It measures 32,000 square feet
0:16:54 > 0:16:57and has a capacity of 806,000 gallons of water,
0:16:57 > 0:17:01which allowed them to sink the Titanic in A Night To Remember.
0:17:08 > 0:17:10Help, help me!
0:17:12 > 0:17:15The message was clear - Pinewood was ready for big productions
0:17:15 > 0:17:16and big sets.
0:17:16 > 0:17:18But Pinewood was lacking something
0:17:18 > 0:17:20that Hollywood had in abundance - stars.
0:17:20 > 0:17:23That didn't bother Rank, however, who - like any good factory boss -
0:17:23 > 0:17:26decided, if you don't have something, make it yourself.
0:17:28 > 0:17:32Rank scoured the land for the screen sirens of tomorrow -
0:17:32 > 0:17:35even opening a charm school to polish the rougher edges.
0:17:35 > 0:17:37And the results weren't half bad -
0:17:37 > 0:17:40one of the star pupils was Diana Fluck -
0:17:40 > 0:17:44or should I saw Diana Dors, Britain's answer to Marilyn.
0:17:46 > 0:17:50But there was one actress that the studio signed up immediately,
0:17:50 > 0:17:52who's returning today,
0:17:52 > 0:17:55more than 60 years since she first passed through these gates.
0:18:01 > 0:18:04A woman who still has the power to turn my legs to jelly.
0:18:04 > 0:18:09# Those devil lips that know so well the art of lying
0:18:09 > 0:18:13# And though I see the dangers, still the flame grows higher... #
0:18:13 > 0:18:17The glamorous, glittering, irrepressible Dame Joan Collins.
0:18:19 > 0:18:22'Joan spent two years as a Rank starlet
0:18:22 > 0:18:24'and the studio transformed the 18-year-old girl
0:18:24 > 0:18:26'into a screen goddess'
0:18:26 > 0:18:29but she spent less time making movies than posing
0:18:29 > 0:18:33for the studio's publicity photographer, Cornel Lucas.
0:18:36 > 0:18:39Cornel's masterful use of lighting immortalised legends
0:18:39 > 0:18:41such as Marlene Dietrich
0:18:41 > 0:18:42and Brigitte Bardot.
0:18:42 > 0:18:47His studio has long gone, but the room is still here at Pinewood.
0:18:47 > 0:18:52So this, I believe, was the studio that Cornel would have shot you in.
0:18:52 > 0:18:58Oh, wow. Oh, I remember this. All those endless, endless hours.
0:18:58 > 0:19:01It was torturous. Actually, just sitting...
0:19:01 > 0:19:05And he put me in all these ridiculous poses and... Here he is!
0:19:05 > 0:19:07- That's him in action. - Yeah, I thought he was quite cute.
0:19:07 > 0:19:10I remember that. He was kind of good-looking, wasn't he?
0:19:10 > 0:19:11He's stylish.
0:19:11 > 0:19:14- That is like an iconic shot, I believe.- It is.
0:19:14 > 0:19:19He wanted me to look, I guess, sexy and he wanted me to look grown-up,
0:19:19 > 0:19:23which I wasn't, because I was still at drama school.
0:19:23 > 0:19:26That's what's fascinating, though, because you look so self-possessed.
0:19:26 > 0:19:29- You look...- You think? - ..sophisticated. Yeah, I think so.
0:19:29 > 0:19:32No, if you look in the eyes, that's a little girl trying to escape.
0:19:32 > 0:19:33- HE LAUGHS - Nice figure.
0:19:33 > 0:19:38- Beautiful, beautiful figure.- Yeah. Oh!- Beautiful bra in that one!
0:19:38 > 0:19:43That was an unusual period for ladies' undergarments!
0:19:43 > 0:19:48That is ridiculous. Why did we do that? What kind of a bra is that?
0:19:48 > 0:19:52- It doesn't even... - It's really embarrassing. Oh!
0:19:52 > 0:19:54- Well, that's quite cute.- Beautiful.
0:19:54 > 0:19:56- Look. There it is.- That was it.
0:19:56 > 0:19:59- That's the staircase.- Wow! Oh, my goodness.- That's unbelievable.
0:19:59 > 0:20:02- That's it there. Yes, of course. - That's amazing.
0:20:05 > 0:20:07After his very first meeting with Joan,
0:20:07 > 0:20:11Lucas declared that this was a girl with a career ahead of her.
0:20:13 > 0:20:17I was "England's answer to Ava Gardner" was one of them
0:20:17 > 0:20:22and "the coffee bar Jezebel". I loved that one!
0:20:22 > 0:20:25So the look - when we think of Joan Collins, we think of glamour.
0:20:25 > 0:20:28- You are... You still have that kind of old-school glamour.- Old?
0:20:28 > 0:20:31- Don't you...- I don't mean that way but you know what I mean?- I know.
0:20:31 > 0:20:35- It's a kind of classic and...- Yeah. - You don't see it so much any more.
0:20:35 > 0:20:37Was that because of your time here, do you think?
0:20:37 > 0:20:39Did they influence you in that way?
0:20:39 > 0:20:41Because you were more bohemian in your day-to-day life.
0:20:41 > 0:20:45I was very bohemian. I wore black polo necks, I wore no lipstick
0:20:45 > 0:20:48and black eyeliner, bangs down to here,
0:20:48 > 0:20:51I went to jazz clubs all the time, smoked cigarettes.
0:20:51 > 0:20:56So when they brought me here and they started to tart me up
0:20:56 > 0:21:00and put lipstick on me and do my hair,
0:21:00 > 0:21:03I wasn't really thrilled about that and I would, you know,
0:21:03 > 0:21:06rub it all off, take it all off and I went home and put my civvies on.
0:21:08 > 0:21:13The studio decided to cast Joan in a series of bad-girl roles,
0:21:13 > 0:21:17including a lady of the night, newly released from Holloway prison.
0:21:18 > 0:21:22They clearly recognised in the actress a natural ability
0:21:22 > 0:21:23for playing femme fatales
0:21:23 > 0:21:26but, in true movie style, with a heart of gold.
0:21:29 > 0:21:30Goodnight.
0:21:30 > 0:21:33'I was really a very wicked lady.'
0:21:34 > 0:21:36And that's how it all started, Jonathan.
0:21:36 > 0:21:40The bitch began very young!
0:21:40 > 0:21:43- So it's really all thanks to Pinewood that we have...- Yes.
0:21:43 > 0:21:47- Yes, obviously.- ..the bitch persona. - Yes. Yes, I know. I DO do it well.
0:21:47 > 0:21:51- You do it very well. - Even though I'm not like that.
0:21:51 > 0:21:54Pinewood has a rich tradition of playing host to bewitching
0:21:54 > 0:22:00leading ladies, from Marilyn Monroe herself to Elizabeth Taylor
0:22:00 > 0:22:01and Meryl Streep.
0:22:03 > 0:22:05But the very first Grand Dame of the studio,
0:22:05 > 0:22:08the Angelina Jolie of her day, was Anna Neagle.
0:22:10 > 0:22:13She was the star of the first film ever to be completed
0:22:13 > 0:22:17here at the studio in 1937 - London Melody.
0:22:17 > 0:22:19And I have rare behind-the-scenes footage which offers
0:22:19 > 0:22:21a glimpse of that production.
0:22:23 > 0:22:27MUSIC: The Eyes Of The World Are On You by Anna Neagle
0:22:36 > 0:22:38But what you'll notice pretty quickly
0:22:38 > 0:22:41is the first film made by the studio was a musical
0:22:41 > 0:22:44and it certainly wasn't the last.
0:22:44 > 0:22:48MUSIC: Dancing Queen by ABBA
0:22:53 > 0:22:56# We could have been anything that we wanted to be. #
0:22:56 > 0:23:03# All day long, I'd biddy biddy bum If I were a wealthy man. #
0:23:03 > 0:23:05# Hey! Me ol' bam-boo, me ol' bamboo
0:23:05 > 0:23:07# You'd better never bother with me ol' bamboo. #
0:23:07 > 0:23:12# Do you hear the people sing, singing the song of angry men. #
0:23:13 > 0:23:16Pinewood is full of surprises.
0:23:16 > 0:23:19From camp crowd-pleasers to timeless pop classics
0:23:19 > 0:23:22and big budget blockbusters, this studio has given us
0:23:22 > 0:23:25some of the greatest musicals ever made.
0:23:27 > 0:23:28And there is one woman
0:23:28 > 0:23:32who has been carrying on that rich tradition here at Pinewood -
0:23:32 > 0:23:35world-renowned choreographer Francesca Jaynes.
0:23:35 > 0:23:39She's worked here on my favourite musical of all time...
0:23:41 > 0:23:43Sweeney Todd.
0:23:43 > 0:23:46# Of course when she goes there, poor thing, poor thing
0:23:46 > 0:23:50# They're having this ball all in masks... #
0:23:50 > 0:23:52But today, on Stage E,
0:23:52 > 0:23:57she's going to recreate her own favourite number for us, which is...
0:23:57 > 0:24:00We're Doing a Sequel from Muppets Most Wanted.
0:24:00 > 0:24:02And I think the reason for that
0:24:02 > 0:24:05is because A, I had 65 dancers
0:24:05 > 0:24:10and I could reference Busby Berkeley, Esther Williams,
0:24:10 > 0:24:12Donald O'Connor, Fred Astaire,
0:24:12 > 0:24:16all the greats and we had an absolute ball.
0:24:16 > 0:24:18# We're doing a sequel
0:24:18 > 0:24:21# It's more of the same
0:24:21 > 0:24:22# Let's give it a name
0:24:22 > 0:24:24# How 'bout The Muppets Again?
0:24:24 > 0:24:26# It's The Muppets Again... #
0:24:26 > 0:24:27There was a section in the middle
0:24:27 > 0:24:30which didn't make the cut of the movie.
0:24:30 > 0:24:34But it pays homage to all the comedic performers.
0:24:34 > 0:24:37We have people falling into baskets, we've got a guy with a plank,
0:24:37 > 0:24:39people chucking hammers.
0:24:39 > 0:24:41- It was joyous.- But that must be heartbreaking
0:24:41 > 0:24:43when you've got something you love that much
0:24:43 > 0:24:46and probably for reasons of pace, I imagine, it doesn't make the final.
0:24:46 > 0:24:50Well, it was heartbreaking but I should have put a Muppet in it.
0:24:50 > 0:24:52I should have put one just popping out of the teapot,
0:24:52 > 0:24:54because then it would have made the cut.
0:24:54 > 0:24:57- The clue was in the title of the film.- Yeah.
0:24:57 > 0:25:00- It's not about me, is it?- It wasn't called The Dancers' Movie!- No.
0:25:00 > 0:25:03But just for us, Fran has gathered together her dancers
0:25:03 > 0:25:05to recreate that deleted scene.
0:25:05 > 0:25:09We've got Lyon and Ross, who have the brooms.
0:25:09 > 0:25:12So you think they are just two guys sweeping up.
0:25:12 > 0:25:14One, two, three, four, five.
0:25:14 > 0:25:16And you get the classic trips.
0:25:16 > 0:25:18Six, two, three...
0:25:20 > 0:25:24Two, two, three, four, five, six, seven, eight.
0:25:24 > 0:25:28- Nice.- Yeah. - JONATHAN LAUGHS
0:25:28 > 0:25:31Yeah! It's just a little throwaway, yeah!
0:25:31 > 0:25:34You start with an idea and you just build it.
0:25:34 > 0:25:36So Leigh is actually going to step forward
0:25:36 > 0:25:40- and she will be in point shoes. - Wow!- Yeah.
0:25:40 > 0:25:44And then they will measure her.
0:25:44 > 0:25:49- And everything is to a particular rhythm. That's it.- Yeah.- That's it.
0:25:49 > 0:25:51- Would you like to step through? - Yeah.
0:25:51 > 0:25:55I'm really... That's me done! That is me... But seriously, seriously.
0:25:55 > 0:25:56That's me done!
0:25:56 > 0:25:59'Well, I think it's best I leave it to the professionals,
0:25:59 > 0:26:02'so sit back and enjoy Fran's lost scene,
0:26:02 > 0:26:06'slotted seamlessly right back where it belongs.'
0:26:06 > 0:26:07# I thought it was the end
0:26:07 > 0:26:12# I told my friends this is when we get to do it all again
0:26:12 > 0:26:14# Do it all again
0:26:14 > 0:26:17# Until the credits roll, we've got another golden show
0:26:17 > 0:26:19# Then we can do it all again... #
0:26:55 > 0:26:58# We're doing a sequel
0:26:58 > 0:27:00# Let's give it a go
0:27:00 > 0:27:01# With Hollywood stars
0:27:01 > 0:27:03# And all the minor cameos
0:27:03 > 0:27:05# We're doing a sequel
0:27:05 > 0:27:08# I don't mean to be a stickler
0:27:08 > 0:27:11# But this is the seventh sequel to our original motion picture
0:27:11 > 0:27:13# We're doing a sequel... #
0:27:13 > 0:27:16AIR-RAID SIREN
0:27:16 > 0:27:20But back in 1938, just as the studio was beginning to find its feet,
0:27:20 > 0:27:24the singing and dancing suddenly came to an abrupt halt.
0:27:25 > 0:27:28The nation faced its darkest hour.
0:27:30 > 0:27:33The government requisitioned the studio and shut down production,
0:27:33 > 0:27:36using the space to rehouse key departments
0:27:36 > 0:27:38away from the heart of London and the bombing.
0:27:38 > 0:27:41But the arrival of the Royal Mint at least allowed the studio to boast
0:27:41 > 0:27:43it was finally making money.
0:27:45 > 0:27:48But filming WAS still happening in secret.
0:27:48 > 0:27:51The Army Film and Photographic Unit moved in
0:27:51 > 0:27:54and with it a number of young enthusiastic film-makers,
0:27:54 > 0:27:56including twin brothers Roy and John Boulting
0:27:56 > 0:27:59and a young sergeant called Richard Attenborough,
0:27:59 > 0:28:02all employed to make a series of stirring war films
0:28:02 > 0:28:04to show those Jerries that
0:28:04 > 0:28:07the British stiff upper lip never wobbles.
0:28:07 > 0:28:10OK. We've two engines and just enough fuel.
0:28:10 > 0:28:13- I'm taking you home, boys. - Good for you, Johnny.
0:28:13 > 0:28:16OK, skipper. That's the stuff. I've got a date tonight.
0:28:16 > 0:28:19In short, Pinewood had become a nursery for new talent.
0:28:19 > 0:28:21And as soon as the war was over,
0:28:21 > 0:28:24Rank swiftly reopened the studio, eager to build on it.
0:28:24 > 0:28:28Suddenly Pinewood was back in business - and how!
0:28:30 > 0:28:34In just a few short years, the studio produced arguably the finest
0:28:34 > 0:28:36British films ever made.
0:28:36 > 0:28:39Powell and Pressberger gave us a stunning melodrama
0:28:39 > 0:28:41and a surreal musical.
0:28:41 > 0:28:44And it was David Lean's classic take on Dickens
0:28:44 > 0:28:47that brought Sir John Mills to the studio and heralded the arrival
0:28:47 > 0:28:50of a family that would come to live and breathe Pinewood.
0:28:52 > 0:28:55I'm attending a rather special screening at the studio
0:28:55 > 0:28:58with none other than his daughter, Hayley.
0:29:02 > 0:29:07You had a child once whom you loved and lost.
0:29:09 > 0:29:14She lived and found powerful friends.
0:29:15 > 0:29:18She is living now.
0:29:18 > 0:29:21She is a lady.
0:29:21 > 0:29:23And very beautiful.
0:29:24 > 0:29:27And...I love her.
0:29:39 > 0:29:41Well, they don't make 'em like that any more.
0:29:41 > 0:29:44- That's a powerful scene, isn't it?- Yes.
0:29:44 > 0:29:47Gosh, I'm glad I've got a hanky.
0:29:47 > 0:29:50- Wow.- Yes.- It's quite something.
0:29:50 > 0:29:52Beautiful movie.
0:29:52 > 0:29:56So that's your father in one of the greatest British movies of all time.
0:29:56 > 0:29:58- Yes.- Shot here at Pinewood.
0:29:58 > 0:30:01Did he talk to you about the experience of making that?
0:30:01 > 0:30:04Well, he loved making that movie.
0:30:04 > 0:30:09It was...a brilliant part. And...
0:30:09 > 0:30:10I think one of...
0:30:10 > 0:30:15One of the very best, you know, movies of a Dickens story
0:30:15 > 0:30:16that you can imagine.
0:30:16 > 0:30:21It was very true, it had a great integrity. Um...
0:30:21 > 0:30:23He was very proud of it.
0:30:23 > 0:30:29Pinewood is very much part of his life and, um...
0:30:30 > 0:30:33..part of all our lives, really.
0:30:33 > 0:30:36Hayley, of course, was a huge star in her own right,
0:30:36 > 0:30:39and filmed one of her most moving roles here at Pinewood,
0:30:39 > 0:30:43playing a young girl who believes she's found Jesus in her barn.
0:30:43 > 0:30:44We know who you are.
0:30:46 > 0:30:48And we're going to look after you.
0:30:52 > 0:30:55We'll try and get you some better stuff next time.
0:30:55 > 0:30:58Were you ever working here concurrently with your sister
0:30:58 > 0:30:59and with your dad?
0:30:59 > 0:31:01Were you ever, the three of you,
0:31:01 > 0:31:03making different films at the same time?
0:31:03 > 0:31:04Yes, absolutely.
0:31:04 > 0:31:11In 1961, my dad was doing Tiara Tahiti with James Mason,
0:31:11 > 0:31:15my sister was doing Twice Round The Daffodils,
0:31:15 > 0:31:19and I was doing In Search Of The Castaways.
0:31:19 > 0:31:22I nearly burnt my dressing room down...
0:31:22 > 0:31:23HE CHUCKLES
0:31:23 > 0:31:26..because I put a pair of these awful green trousers
0:31:26 > 0:31:30that I was wearing in the film, they got wet - I don't know why -
0:31:30 > 0:31:34and I hung them over this electric radiator, and they caught fire.
0:31:34 > 0:31:36And if somebody hadn't seen smoke
0:31:36 > 0:31:38billowing out of my dressing room door,
0:31:38 > 0:31:40I would've... The whole thing would've gone up in flames.
0:31:40 > 0:31:43- You could have been the girl who destroyed Pinewood.- Yes!
0:31:43 > 0:31:45Well, I'm glad you weren't.
0:31:45 > 0:31:49I don't... I don't think I fully appreciated
0:31:49 > 0:31:55how much a part of my growing up these studios have been.
0:31:57 > 0:32:02In 1948, Great Expectations scooped two Oscars for the studio.
0:32:02 > 0:32:05So you would imagine the worries of the war years were long gone.
0:32:05 > 0:32:09But Rank had a keener eye for talent than he did for budgets.
0:32:09 > 0:32:12Pinewood was, in fact, haemorrhaging money.
0:32:12 > 0:32:15The next big drama for the studio would happen in the boardroom.
0:32:16 > 0:32:19A swift change of management saw Rank take a back seat
0:32:19 > 0:32:21and an accountant take the helm.
0:32:21 > 0:32:24Budgets were slashed and the books were balanced.
0:32:24 > 0:32:27But this scared off some of the more creative directors.
0:32:27 > 0:32:30Those early classics that had won international acclaim
0:32:30 > 0:32:32were replaced by films with a uniquely...
0:32:32 > 0:32:34home-grown appeal.
0:32:36 > 0:32:38This new era was characterised
0:32:38 > 0:32:41by the latest star to be signed up to the studio.
0:32:41 > 0:32:44Hollywood had Brando and Bogart,
0:32:44 > 0:32:46Pinewood had Norman.
0:32:55 > 0:33:00In the 1950s, Norman Wisdom was already a popular stage performer.
0:33:00 > 0:33:03But it was Pinewood that make him a screen superstar,
0:33:03 > 0:33:06with a winning formula of slapstick and hapless charm.
0:33:09 > 0:33:12It might seem dated today but in 1954,
0:33:12 > 0:33:14Norman Wisdom's first film won him a BAFTA.
0:33:14 > 0:33:18Then, in 1963, the little fella in the flat cap
0:33:18 > 0:33:20delivered a knockout blow to James Bond,
0:33:20 > 0:33:24toppling From Russia With Love to become number one at the box office.
0:33:24 > 0:33:27The studio was laughing all the way to the bank.
0:33:27 > 0:33:30So Norman's success was swiftly followed by the Doctor films,
0:33:30 > 0:33:33with a similar recipe of madness and mayhem,
0:33:33 > 0:33:36back when the NHS was something to laugh about.
0:33:36 > 0:33:40OK, they weren't going to win any prizes for originality
0:33:40 > 0:33:42but if it ain't broke, why fix it?
0:33:42 > 0:33:46In the 1950s and '60s, the studio became a comedy factory
0:33:46 > 0:33:49and there was one formula that worked time and time again -
0:33:49 > 0:33:51or, to put it another way -
0:33:51 > 0:33:54it would Carry On and Carry On.
0:33:54 > 0:33:56Left, right, left, right, left, right.
0:33:58 > 0:34:01The genius of the series was its simplicity.
0:34:02 > 0:34:04Take a regular troupe of actors
0:34:04 > 0:34:07and send up a familiar British institution -
0:34:07 > 0:34:09the Army, the NHS
0:34:09 > 0:34:10and, here at Pinewood,
0:34:10 > 0:34:13nothing was more perfect for parody than Bond.
0:34:17 > 0:34:19So, in the same year that Goldfinger came out,
0:34:19 > 0:34:23Carry On Spying saw the arrival of another national treasure.
0:34:23 > 0:34:25Less double-0, more double-D.
0:34:25 > 0:34:28MUSIC: These Boots Were Made For Walkin' by Nancy Sinatra
0:34:28 > 0:34:31Pinewood was about to launch its secret weapon -
0:34:31 > 0:34:34Britain's greatest blonde bombshell.
0:34:40 > 0:34:42- Hey!- Wow.
0:34:42 > 0:34:46- Barbara. That is arriving in style. - Not bad, eh?- Wow.
0:34:46 > 0:34:49- Now, are you going to drive me around?- Yeah, I'll chauffeur you.
0:34:49 > 0:34:52- Yeah, yeah. OK.- Cos I want to see... I want your memories of this place.
0:34:52 > 0:34:55- OK, you ready to go?- Yes, I am. - Hold on tight.- Yes. Yes.
0:34:59 > 0:35:02EERIE MUSIC
0:35:03 > 0:35:06Enough. Stop the optical device.
0:35:06 > 0:35:10Barbara's debut was already the ninth Carry On film in the series.
0:35:11 > 0:35:13Open your mouth.
0:35:14 > 0:35:16Now, you understand what you have to do?
0:35:16 > 0:35:18And it took some persuading from her agent
0:35:18 > 0:35:20to really get her teeth into it.
0:35:20 > 0:35:21Now...
0:35:21 > 0:35:22ARGH!
0:35:22 > 0:35:25He said, "Well, they're doing the last of the black and whites."
0:35:25 > 0:35:27And it was with Bernie Cribbins, who was a friend,
0:35:27 > 0:35:30and I thought, "Well, that'll be rather nice, you know?"
0:35:30 > 0:35:33And he said, "You'll learn about filming on that,
0:35:33 > 0:35:35"you'll realise you're OK.
0:35:35 > 0:35:36"You imagine you are useless at it."
0:35:36 > 0:35:40- So it was like going to school, almost?- Yes, it was.
0:35:40 > 0:35:41Right, you can come in now.
0:35:41 > 0:35:43'And my first scene was with Kenneth.'
0:35:43 > 0:35:45Good evening.
0:35:45 > 0:35:48'Kenneth had this long beard down him, and he was being a bit stroppy.'
0:35:48 > 0:35:51- Thank you very much.- Thank you, sir.
0:35:51 > 0:35:52HE GASPS
0:35:52 > 0:35:54Oh, yes, 'ere!
0:35:54 > 0:35:55Oh, never mind.
0:35:55 > 0:35:57HAIR today, gone tomorrow.
0:35:57 > 0:35:59HE LAUGHS
0:35:59 > 0:36:01On my first line, I went...
0:36:01 > 0:36:03SHE CHOKES "Oh, I'm so sorry."
0:36:03 > 0:36:07And he went, "Oh, ducky, do get it right!" And I said...
0:36:07 > 0:36:10I was so upset that he didn't say, "That's all right,"
0:36:10 > 0:36:13and made me feel an idiot, I went, "Don't you have a go at me
0:36:13 > 0:36:17"with Fenella Fielding's minge hair around your chops."
0:36:17 > 0:36:19SHE LAUGHS
0:36:20 > 0:36:23It's a bit of a grey day, I'm sorry to have dragged you out...
0:36:23 > 0:36:26But it's perfect. It wouldn't have been right had it been sunny.
0:36:26 > 0:36:29We never had a sunny day in our lives, did we?
0:36:29 > 0:36:33- So you filmed even when it was bad weather?- It didn't matter.
0:36:33 > 0:36:35"Won't show," they used to say.
0:36:36 > 0:36:38While the films were big hits at the box office,
0:36:38 > 0:36:41the production team still kept a tight rein on the budgets,
0:36:41 > 0:36:45using every possible corner of the studio as a set.
0:36:46 > 0:36:48This, I think,
0:36:48 > 0:36:51- if I'm right in thinking this was Moore-Nookey Hall.- It was, it was.
0:36:51 > 0:36:54We did everything there. It looks very grand, doesn't it?
0:36:54 > 0:36:57I think it's been a hospital, it's been a bit of a palace.
0:36:57 > 0:37:00It's been everything, you know?
0:37:00 > 0:37:02Well, how about a kiss, Mrs Nookey, eh?
0:37:02 > 0:37:06- I definitely know I've seen this in almost every...- Everything!
0:37:08 > 0:37:11We all have our favourite memories of Carry On, but for Barbara,
0:37:11 > 0:37:14it was here, in the formal gardens behind the house
0:37:14 > 0:37:16where she got closest to playing a Windsor.
0:37:16 > 0:37:19This is where we filmed my favourite film of all time,
0:37:19 > 0:37:21Carry On Henry.
0:37:21 > 0:37:24I loved it because it was all in wonderful costumes
0:37:24 > 0:37:27- and we used the costumes from the Richard Burton film.- Ah!
0:37:27 > 0:37:30And Sid looked wonderful in them.
0:37:30 > 0:37:32With all those beautiful ladies in there,
0:37:32 > 0:37:33why on earth did you pick on me?
0:37:33 > 0:37:36Well, there's a couple of things, I suppose.
0:37:36 > 0:37:38Oh, Maj, you're only after one thing.
0:37:38 > 0:37:40Why? What's the matter with the other one?
0:37:40 > 0:37:42THEY LAUGH
0:37:45 > 0:37:47We can't complete this trip down memory lane
0:37:47 > 0:37:49without seeking out the location of a scene
0:37:49 > 0:37:53that left a very big impression on my formative years.
0:37:53 > 0:37:57- Does this bring back memories, though, now you're here?- Well...
0:37:57 > 0:37:58I... No, it doesn't.
0:37:58 > 0:38:01Because, I mean, it looks like a dump, doesn't it?
0:38:01 > 0:38:04But then, when I think about it, so did the scene, didn't it,
0:38:04 > 0:38:06in the Carry On Camping?
0:38:06 > 0:38:07Fling! And in.
0:38:07 > 0:38:10And fling! And in.
0:38:10 > 0:38:12- And fling! - SPROING!
0:38:12 > 0:38:13HE SPLUTTERS
0:38:13 > 0:38:15THE GIRLS LAUGH
0:38:15 > 0:38:17Ooh! Matron! Take them away!
0:38:17 > 0:38:18Oh!
0:38:18 > 0:38:23He got this fishing rod and this hook and, of course, I had to go...
0:38:23 > 0:38:27And Kenny had to go, "Out they go! And out they go!" You see?
0:38:27 > 0:38:30And then he had to pull it, and it had to go flying.
0:38:30 > 0:38:33And I said, "It won't happen." "Oh, yes, it will."
0:38:33 > 0:38:35Anyway, it didn't.
0:38:35 > 0:38:37And what was the first time it happened?
0:38:37 > 0:38:42- I got pulled and I went into the mud. - So the fishing rod pulled you?
0:38:42 > 0:38:45Well, it would. You know, like that. There's the old bra there.
0:38:45 > 0:38:46There's the bra there.
0:38:46 > 0:38:49And it's going like that, and it wouldn't come off.
0:38:49 > 0:38:53So, "Pick her up, mop her down. Go for another take, another take."
0:38:53 > 0:38:56And I can hear Kenneth saying in the background,
0:38:56 > 0:38:58"Treated like a load of shit, it's a DISGRACE.
0:38:58 > 0:39:01"Don't you stand for it, Barbara." Like, what are you going to?
0:39:01 > 0:39:05But I loved it. It's how I imagined Hollywood to be.
0:39:05 > 0:39:08- It was England's Hollywood. - Yes. It was great.
0:39:09 > 0:39:14Carry On was a phenomenon, lasting over 20 years and 30 films.
0:39:14 > 0:39:15Phwoar!
0:39:15 > 0:39:18I won't ask how far you want to go, I might get the wrong answer.
0:39:18 > 0:39:20Only to the bottom, me dear.
0:39:20 > 0:39:23But, by the 1970s, the joke was wearing thin.
0:39:23 > 0:39:26And, increasingly, the studio found there was little to laugh about.
0:39:32 > 0:39:34The three-day week, strikes, power cuts -
0:39:34 > 0:39:36the government had more on its mind
0:39:36 > 0:39:38than propping up a failing British film industry.
0:39:38 > 0:39:41Alongside with the growth of popularity of television,
0:39:41 > 0:39:43it looked like Pinewood's glory days were over
0:39:43 > 0:39:46until, on the horizon, a glimmer of hope appears.
0:39:46 > 0:39:50Is it a bird? Is it a plane? Well, you know the rest.
0:39:50 > 0:39:51MUSIC: Superman Theme by John Williams
0:39:51 > 0:39:54I was a socially awkward 17-year-old in East London
0:39:54 > 0:39:57when the posters for Superman came out with one big promise...
0:40:00 > 0:40:02Little did I know that, over in Pinewood,
0:40:02 > 0:40:05there was an increasing mood of panic -
0:40:05 > 0:40:07how do you make it happen?
0:40:09 > 0:40:13The Superman flying unit spent months trying different techniques.
0:40:13 > 0:40:15From catapulting dummies...
0:40:15 > 0:40:18CRASH!
0:40:18 > 0:40:19..to radio-controlled models...
0:40:22 > 0:40:24..even animation...
0:40:26 > 0:40:29..before turning back to traditional wire rigs.
0:40:29 > 0:40:30With mixed results.
0:40:32 > 0:40:34The problem was, the crew at Pinewood
0:40:34 > 0:40:38had become preoccupied with launching Superman across the screen
0:40:38 > 0:40:41when, in fact, he didn't need to move a muscle.
0:40:41 > 0:40:45But it would take a real Action Man to show them how it could work.
0:40:45 > 0:40:48The trick is this, that everything that appears to be moving
0:40:48 > 0:40:52is actually static and everything that's static is actually moving.
0:40:52 > 0:40:54Once you get around that, it's dead easy.
0:40:57 > 0:41:00Zoran Perisic was the unlikely hero of the hour.
0:41:00 > 0:41:04He worked out that if you mounted Superman on a giant metal pole,
0:41:04 > 0:41:06all of the movement could be achieved
0:41:06 > 0:41:10by moving the camera in what Zoran called his "Zoptic" system.
0:41:12 > 0:41:16It consists of a small projector,
0:41:16 > 0:41:19which is light and easily manoeuvrable.
0:41:19 > 0:41:21The background picture -
0:41:21 > 0:41:24like, for example, New York's skyline -
0:41:24 > 0:41:26is projected from here.
0:41:26 > 0:41:31It goes through a zoom lens via a two-way mirror,
0:41:31 > 0:41:33onto a front-projection screen.
0:41:33 > 0:41:35The artist, in this case Superman,
0:41:35 > 0:41:38stands in front of the front-projection screen
0:41:38 > 0:41:41and the composite picture of the background and the foreground
0:41:41 > 0:41:44is seen by the camera lens.
0:41:44 > 0:41:46Zoran had cracked it.
0:41:49 > 0:41:52This was the first shot that we did.
0:41:52 > 0:41:56It's totally out of sequence but it was the first shot that we did,
0:41:56 > 0:41:59when everybody descended - from the producer, director,
0:41:59 > 0:42:01everybody from the offices, even the secretaries -
0:42:01 > 0:42:04descended on the stage to look at it on the video monitor.
0:42:04 > 0:42:06So everybody realised that it was going to work
0:42:06 > 0:42:08even before we saw the finished product.
0:42:08 > 0:42:11And was this the moment when you knew you had it nailed?
0:42:11 > 0:42:14I went to a screening in Plymouth, of all places.
0:42:14 > 0:42:17About as far away from the movie business as you can get.
0:42:17 > 0:42:20And I'm sitting in this screening room, in a theatre.
0:42:20 > 0:42:22You know, just a regular theatre in Plymouth.
0:42:22 > 0:42:26And when that scene of the helicopter, and Lois Lane falls out
0:42:26 > 0:42:29and Superman flies in and catches her,
0:42:29 > 0:42:30the audience stood up!
0:42:31 > 0:42:34I mean... I thought, "My goodness, we must have done something right!"
0:42:34 > 0:42:36Zoran, you know, in the '70s in Plymouth,
0:42:36 > 0:42:39maybe they'd never seen a helicopter before.
0:42:39 > 0:42:40That might have been it!
0:42:42 > 0:42:44MUSIC: Superman Theme
0:42:44 > 0:42:46CROWD CHEERS
0:42:46 > 0:42:51At the time, this was revolutionary. The film was a smash hit.
0:42:51 > 0:42:53Zoran earned himself an Oscar,
0:42:53 > 0:42:57and Pinewood had proved it could make anything possible.
0:42:57 > 0:43:00And they're still doing it today.
0:43:00 > 0:43:01Here in the Creative Workshop,
0:43:01 > 0:43:05I'm about to demonstrate how far they've come since Superman.
0:43:12 > 0:43:15Welcome to the world of 3D scanning.
0:43:16 > 0:43:19OK, Jonathan, if you'd like to just centre yourself up.
0:43:19 > 0:43:22- So above the big cross there? - That's it, lovely.
0:43:22 > 0:43:25And you're looking straight at the orange marker.
0:43:25 > 0:43:28- Want me to throw a few crazy shapes for you?- Beautiful.
0:43:28 > 0:43:29FLASH POPS
0:43:30 > 0:43:32My eyes...
0:43:32 > 0:43:36And then if we wanted to do a kind of classic, heroic kind of pose...
0:43:36 > 0:43:39Yes, probably sort of just the weight on the back feet little bit,
0:43:39 > 0:43:40head up - you know, chin out.
0:43:40 > 0:43:42- Oh.- Smokin'.
0:43:42 > 0:43:43FLASH POPS
0:43:43 > 0:43:44All good?
0:43:44 > 0:43:47And then all of the images will be joined up and knitted together?
0:43:47 > 0:43:49Yeah. This is going to show EVERYTHING.
0:43:49 > 0:43:50Maybe I won't look, then.
0:43:53 > 0:43:56Be afraid. Be very afraid.
0:43:56 > 0:44:00In just a few seconds, I've been immortalised for ever.
0:44:00 > 0:44:02Who knew I had so many dimensions?
0:44:07 > 0:44:10So here we have the scan that was done of you earlier.
0:44:10 > 0:44:13This is the underlying mesh of your body.
0:44:13 > 0:44:15- I'm looking pretty good. - Pretty good.
0:44:15 > 0:44:17And, for small fee, we could touch it up a little bit.
0:44:17 > 0:44:19I think we know where to start.
0:44:19 > 0:44:21So how would this be used? I see you can move it around
0:44:21 > 0:44:23and we can see me from all angles now.
0:44:23 > 0:44:25It can be used for all sorts of things,
0:44:25 > 0:44:29to create a computer-generated version of you on the screen.
0:44:29 > 0:44:32It's used to make physical casts of people to build their costume.
0:44:32 > 0:44:34So essentially you're working, step-by-step,
0:44:34 > 0:44:38towards finally getting rid of those annoying actors?
0:44:38 > 0:44:40Well, no, we're working towards enhancing
0:44:40 > 0:44:42the charming and lovely actors.
0:44:42 > 0:44:43IT SCREECHES
0:44:43 > 0:44:47Tim Webber is a superstar of special effects.
0:44:47 > 0:44:48He's worked on Harry Potter,
0:44:48 > 0:44:51The Dark Knight...
0:44:51 > 0:44:53and even scooped an Oscar for Gravity.
0:44:55 > 0:44:57What's the kind of legacy of Pinewood
0:44:57 > 0:44:59when it comes to special effects?
0:44:59 > 0:45:02What kind of echoes do you feel reverberating through your work?
0:45:02 > 0:45:03A huge amount, I think.
0:45:03 > 0:45:07You know, Pinewood and special effects have a very strong link
0:45:07 > 0:45:11going back to the matte paintings in Black Narcissus.
0:45:11 > 0:45:14I didn't realise until comparatively recently
0:45:14 > 0:45:15that they hadn't used any locations.
0:45:15 > 0:45:18It is very strange when you see the final shot
0:45:18 > 0:45:20and then what was originally filmed
0:45:20 > 0:45:22and she's a few feet above the ground
0:45:22 > 0:45:26and it feels incredibly vertiginous when the matte painting's there
0:45:26 > 0:45:28and it looks seamless in many ways.
0:45:30 > 0:45:34The master of visual effects, Ray Harryhausen, the man
0:45:34 > 0:45:37who more or less singlehandedly kept stop motion alive,
0:45:37 > 0:45:39I suspect if you put that in a movie today,
0:45:39 > 0:45:41an audience might not take it as seriously as we did as kids.
0:45:41 > 0:45:45- Is that something that you have to be aware of?- Definitely. Yes.
0:45:45 > 0:45:49I think the qualities of stop motion, and it has some fantastic qualities,
0:45:49 > 0:45:51you know, you could use them in a knowing way
0:45:51 > 0:45:54in the right sort of movie to give it a very specific style
0:45:54 > 0:45:59but audiences' expectations of reality have increased massively.
0:46:01 > 0:46:05Every movie we improve, they expect more for the next movie.
0:46:05 > 0:46:08I guess the real challenge is always getting the balance right
0:46:08 > 0:46:11so that we don't have a film which is all spectacle but no heart.
0:46:11 > 0:46:13If you haven't got a heart in your movie
0:46:13 > 0:46:15it doesn't matter how many visual effects or how much spectacle
0:46:15 > 0:46:18you throw at it, it's not going to be an interesting movie.
0:46:18 > 0:46:21It's got to have some human emotion and some heart in the core of it.
0:46:21 > 0:46:24- Still got to have a great story, great characters.- All of that.
0:46:24 > 0:46:28- Believable plot.- Yes.- Big challenge, great villain.- Yeah.
0:46:28 > 0:46:30- And a little bit of special effects. - Oh, exactly.
0:46:30 > 0:46:32All of the classic things.
0:46:32 > 0:46:34Over its 80 years,
0:46:34 > 0:46:38Pinewood has grown to become more of a small town than a studio.
0:46:39 > 0:46:43Home to set builders, prop makers, editors, sound mixers,
0:46:43 > 0:46:45costume designers, make-up artists
0:46:45 > 0:46:48and, of course, special effects supervisors,
0:46:48 > 0:46:51but there is one person that they all answer to,
0:46:51 > 0:46:54one person where the buck finally stops -
0:46:54 > 0:46:55the director.
0:46:57 > 0:47:03Movie maverick Matthew Vaughn has redefined superheroes and spies
0:47:03 > 0:47:04for a whole new generation.
0:47:06 > 0:47:09And I want to know why he's chosen to make his biggest hits
0:47:09 > 0:47:11at Pinewood.
0:47:13 > 0:47:15That is sick.
0:47:15 > 0:47:17When you think of Pinewood Studios, what do you think?
0:47:17 > 0:47:20What are the qualities that make Pinewood what it is?
0:47:20 > 0:47:23It's the British charm of bad food,
0:47:23 > 0:47:26sound stages which are really cow sheds
0:47:26 > 0:47:28and no air conditioning,
0:47:28 > 0:47:29but apart from that, I love it.
0:47:29 > 0:47:31We've got the best film crews in the world.
0:47:31 > 0:47:35And why are the craftsmen as revered as they are?
0:47:35 > 0:47:37I would've thought someone who's building a set
0:47:37 > 0:47:40is going to build it the same in Los Angeles as they will in Hong Kong
0:47:40 > 0:47:41as they will in Pinewood.
0:47:41 > 0:47:43I'm amazed, every time I've worked with a British crew,
0:47:43 > 0:47:45how much better they are.
0:47:45 > 0:47:48In England, you meet people that want to be the best carpenter
0:47:48 > 0:47:50or the best sound guy or the best editor.
0:47:50 > 0:47:53They want to be the best at what they do.
0:47:53 > 0:47:55We're a bunch of British guys together having a laugh
0:47:55 > 0:47:58on and off the camera and that makes a real difference.
0:47:58 > 0:48:02When you're against the ropes, we do get on with it and make great films.
0:48:02 > 0:48:07What I liked about Kick-Ass, we shot that all at Pinewood.
0:48:07 > 0:48:09Everybody thinks it's an American film
0:48:09 > 0:48:12but we managed to recreate New York in Buckinghamshire.
0:48:12 > 0:48:14That's right. We're superheroes. You love us.
0:48:14 > 0:48:16What would your favourite scenes be,
0:48:16 > 0:48:19where you think you nailed it but also in terms of the impact it had?
0:48:19 > 0:48:22The ones the audience loved the most and why that is.
0:48:22 > 0:48:25For Kingsman, I would say the pub scene. The first pub scene
0:48:25 > 0:48:30when we see Colin beating the living daylights out of some ruffians.
0:48:32 > 0:48:34Manners
0:48:34 > 0:48:35maketh...
0:48:38 > 0:48:40..man.
0:48:40 > 0:48:43Everyone was like, "Can Colin Firth really pull this off?"
0:48:43 > 0:48:45And I didn't know.
0:48:46 > 0:48:49Do you know what that means?
0:48:49 > 0:48:51So it was a bit of a gamble.
0:48:51 > 0:48:54Are we going to stand around here all day or are we going to fight?
0:49:04 > 0:49:08British cinema has always been about punching above our weight
0:49:08 > 0:49:10and the way you do it is you have to be different.
0:49:10 > 0:49:12With Kick-Ass and with Kingsman,
0:49:12 > 0:49:15we put a lot of humour into it, which made it unique.
0:49:15 > 0:49:17We couldn't afford to do the big set pieces
0:49:17 > 0:49:22so, you know the English mentality,
0:49:22 > 0:49:23if there's a problem, make a joke.
0:49:23 > 0:49:26I have trouble understanding you people sometimes.
0:49:26 > 0:49:28You all talk so funny.
0:49:28 > 0:49:31Matthew Vaughn's high-octane stunt-filled extravaganzas
0:49:31 > 0:49:33are what Pinewood does best.
0:49:33 > 0:49:37Five, four, three,
0:49:37 > 0:49:39two, one!
0:49:40 > 0:49:44And there's one small corner of the studios still to visit,
0:49:44 > 0:49:47where all the really big action takes place.
0:49:47 > 0:49:51The perfect setting for our final epic scene.
0:49:58 > 0:50:01I was very excited to be coming in here
0:50:01 > 0:50:03but it doesn't actually look that much... It looks a bit like
0:50:03 > 0:50:06we're in a sort of municipal swimming pool somewhere.
0:50:06 > 0:50:09It's not... This isn't the glamour of Pinewood
0:50:09 > 0:50:10that I'd been led to expect.
0:50:10 > 0:50:13- Is this really where you do all the underwater stuff?- Absolutely.
0:50:13 > 0:50:18At the moment, it's like a completely empty film or television studio.
0:50:18 > 0:50:21We need to bring our imagination into it
0:50:21 > 0:50:24and then, with imagination and money - the budget -
0:50:24 > 0:50:27you could then build incredible things.
0:50:27 > 0:50:30Mike Valentine is the best underwater cinematographer
0:50:30 > 0:50:34in the business, with a number of slippery tricks up his sleeve.
0:50:34 > 0:50:38On the last Bond film, Skyfall, we had a sequence
0:50:38 > 0:50:40with Daniel Craig falling through
0:50:40 > 0:50:42and having a fight under the water
0:50:42 > 0:50:44and this was full of wax, on the surface,
0:50:44 > 0:50:47so that he could actually simulate ice on the water.
0:50:59 > 0:51:02On Star Wars Episode I, where they've got to swim
0:51:02 > 0:51:06to that amazing city with Liam Neeson and Ewan McGregor,
0:51:06 > 0:51:09so we came up with an idea that they could take a Jedi breathing device
0:51:09 > 0:51:13out of their pockets and put them in their mouth and breathe
0:51:13 > 0:51:17and it was made from two spark plugs that are welded together
0:51:17 > 0:51:20with a little mouthpiece on and they could just swim around.
0:51:20 > 0:51:22If anyone's watching that scene again, have a look.
0:51:22 > 0:51:24It's just a couple of spark plugs.
0:51:24 > 0:51:26Two spark plugs and a little bit of the force and you're good to go.
0:51:26 > 0:51:28Exactly.
0:51:28 > 0:51:30You should follow me now, okey-day?
0:51:32 > 0:51:35This is the best underwater stage on the planet
0:51:35 > 0:51:38and to prove it, Mike is going to put it through its paces,
0:51:38 > 0:51:42transforming this pool into a dramatic film set,
0:51:42 > 0:51:44and to help out, I've donated the prop.
0:51:46 > 0:51:50Imagine, my trusty Mondeo has spun off the road in a storm
0:51:50 > 0:51:52and crashed into a shallow river.
0:51:53 > 0:51:56In preparation, the car has been meticulously cleaned
0:51:56 > 0:52:01to ensure nothing can muddy the crystal clear water.
0:52:01 > 0:52:02A scaffold has been constructed
0:52:02 > 0:52:05to allow the car to be winched into position...
0:52:08 > 0:52:12..and a section of fake riverbed is dressed underneath.
0:52:15 > 0:52:19Finally, tubes of gas are fed into the engine to set it on fire.
0:52:21 > 0:52:24And now, to really build the tension...
0:52:26 > 0:52:30This is the very tank where Sandra Bullock crash-landed into the sea
0:52:30 > 0:52:32before swimming to safety.
0:52:35 > 0:52:39And where poor Keira Knightley was not quite so fortunate.
0:52:39 > 0:52:43In tribute, we are going to film a classic damsel-in-distress scene.
0:52:43 > 0:52:45All we need is a willing damsel.
0:52:45 > 0:52:48So, Sarah, you're playing someone in danger.
0:52:48 > 0:52:50You're playing someone trying to get out of the situation.
0:52:50 > 0:52:53If you were in actual danger, you'd be doing the same thing
0:52:53 > 0:52:56so how do they know when you're acting... I mean, is there...
0:52:56 > 0:52:59The underwater crew don't have, like, a safe word?
0:52:59 > 0:53:01Well, if you need air all of a sudden,
0:53:01 > 0:53:05- then this is the sort of sign that you make.- So you go like that? OK.
0:53:05 > 0:53:08- Well, I can't wait to see it. Good luck.- Thank you.- Fingers crossed.
0:53:08 > 0:53:10Give me a wave if you're in trouble, I'll be straight in.
0:53:10 > 0:53:13- Can't wait for that.- I'm going to take my jacket off first, obviously.
0:53:13 > 0:53:15- Give me two minutes. - Keep yourself looking good.
0:53:15 > 0:53:17- I will be... Eventually, I will arrive.- Brilliant.
0:53:17 > 0:53:20- Thank you for doing this for us. - Thank you.
0:53:24 > 0:53:28Time to go for a take, and while I don't think Sarah believed me,
0:53:28 > 0:53:31I am positioned in the support boat
0:53:31 > 0:53:33at a safe distance, of course.
0:53:33 > 0:53:37It's fair to say that Sarah is having a pretty bad day.
0:53:37 > 0:53:41She's about to be locked inside a car that's submerged underwater.
0:53:41 > 0:53:43At least it's not on fire.
0:53:45 > 0:53:47Oh, me and my big mouth.
0:53:49 > 0:53:53Three, two, one, and action.
0:53:53 > 0:53:56And...up!
0:53:56 > 0:54:00The director at poolside is able to communicate directly
0:54:00 > 0:54:02with Sarah and Mike while they're underwater.
0:54:03 > 0:54:05That's it. Bang the window now.
0:54:08 > 0:54:11Very nice. Perfect. Open the door.
0:54:11 > 0:54:12But after just a few minutes,
0:54:12 > 0:54:16it's clear Sarah is having some difficulty.
0:54:16 > 0:54:17Are you OK?
0:54:17 > 0:54:20Push it open. Air, please. Thank you. Cut. Cut.
0:54:22 > 0:54:23Everyone to the surface.
0:54:27 > 0:54:31Welcome back to the land of the living. So, how was that for you?
0:54:31 > 0:54:34Not too bad, but the dress is really wrapping around my legs
0:54:34 > 0:54:38at the moment, so just fighting against that a little bit.
0:54:38 > 0:54:40Hoping it's going to be a bit better next time.
0:54:40 > 0:54:43- OK, so you're going to go for another take, are you?- Yes.- OK.
0:54:43 > 0:54:45Good luck again. It looks great for me.
0:54:45 > 0:54:47I couldn't see anything wrong with it.
0:54:49 > 0:54:51Sarah gamely goes again.
0:54:51 > 0:54:54The challenge for everyone is that filming underwater
0:54:54 > 0:54:55takes twice as long
0:54:55 > 0:54:58and, of course, there's only so much time in a day -
0:54:58 > 0:54:59and energy in an actress.
0:55:02 > 0:55:04And regulator out when you're ready.
0:55:04 > 0:55:06Three, two...
0:55:06 > 0:55:09Hold the breath outside, please, whoever the diver is.
0:55:09 > 0:55:11..one, action.
0:55:13 > 0:55:16Sarah and the crew are not the only ones holding their breath.
0:55:17 > 0:55:19Opening the door.
0:55:22 > 0:55:24Out she comes.
0:55:24 > 0:55:26OK, and cut!
0:55:26 > 0:55:28But this time, it's a wrap.
0:55:32 > 0:55:34Wow. Well done. That was the smoothest yet.
0:55:34 > 0:55:37I'm really getting a feeling and a sense of how hard it must be
0:55:37 > 0:55:39- swimming in that. - Yeah. It's not the easiest
0:55:39 > 0:55:41but that one seemed to go a lot better.
0:55:41 > 0:55:43- I think I'm happy with that one. - You definitely nailed it.
0:55:43 > 0:55:45- Let's call it a day now. Let me give you a hand.- Excellent.
0:55:45 > 0:55:48- You come in here with me. Don't pull me in!- OK.
0:55:48 > 0:55:49I know it's tempting.
0:55:51 > 0:55:53Blimey. That dress.
0:55:53 > 0:55:55I'm not sure where to put my hands. Here we go.
0:55:55 > 0:55:58'So, let's take a look at the final cut
0:55:58 > 0:56:02'and discover if Sarah is destined to live happily ever after.'
0:56:06 > 0:56:09BRAKES SQUEAL
0:56:09 > 0:56:10CRASH
0:57:20 > 0:57:22If I've learned nothing else on this tour,
0:57:22 > 0:57:25it's that filming is a risky business
0:57:25 > 0:57:27and Pinewood should have sunk without trace
0:57:27 > 0:57:29more than once over the last 80 years.
0:57:35 > 0:57:38But time and time again, it's come back from the brink.
0:57:40 > 0:57:44Pinewood's story has been as tense and dramatic as any film script
0:57:44 > 0:57:47but its ability to adapt to changing times has seen it become
0:57:47 > 0:57:51one of the largest and most successful studios in the world.
0:57:53 > 0:57:57A constant master of reinvention.
0:57:57 > 0:58:01In the last year alone, we've see Matthew's Kingsman
0:58:01 > 0:58:04and Branagh's breathtaking Cinderella,
0:58:04 > 0:58:09and fewer franchises are bigger or more hotly anticipated than Bond.
0:58:09 > 0:58:11Although, of course, there is Star Wars.
0:58:15 > 0:58:18Not bad for an octogenarian out in the sticks.