0:00:25 > 0:00:30Ever since a British secret agent named Bond - James Bond -
0:00:30 > 0:00:32embarked on his first mission,
0:00:32 > 0:00:37a large global corporation has been keeping tabs on his every move.
0:00:37 > 0:00:39So...
0:00:39 > 0:00:43There's such a lot of Bond to see, isn't there? Is there no end?
0:00:43 > 0:00:47Now, after more than 60 years of tracking 007 in print
0:00:47 > 0:00:49and on screen...
0:00:49 > 0:00:51Thank you. Ready, guys?
0:00:51 > 0:00:55..we open up the BBC vaults to reveal the forgotten files
0:00:55 > 0:00:58on the world's most celebrated secret agent.
0:00:58 > 0:01:02The world's most famous hero assumes a natural position.
0:01:02 > 0:01:06# He's tall and he's dark... #
0:01:06 > 0:01:08Through candid interrogations...
0:01:08 > 0:01:10'How much of that action do you enjoy?'
0:01:10 > 0:01:14I enjoy all of it. I... Particularly the love scenes.
0:01:14 > 0:01:17# Mr kiss, kiss, bang, bang... #
0:01:19 > 0:01:21..technical briefings...
0:01:21 > 0:01:26But this glides away to let the missile come out of the volcano.
0:01:27 > 0:01:29..and foreign assignments,
0:01:29 > 0:01:33we assess Bond's ability to survive in a changing world.
0:01:33 > 0:01:36The Bond movies generally are simply a licence to print money.
0:01:36 > 0:01:42His transgressions, his victories and his innermost secrets explored.
0:01:42 > 0:01:46This is the sort of question that you should not be asking.
0:01:46 > 0:01:49This is a licence to view James Bond -
0:01:49 > 0:01:53unguarded, unrestricted and unseen.
0:02:03 > 0:02:08In 1964, the BBC filed a report from the United States' gold bullion
0:02:08 > 0:02:10depository at Fort Knox.
0:02:14 > 0:02:16And their man on the ground bore more than a passing
0:02:16 > 0:02:19resemblance to the spy himself.
0:02:19 > 0:02:23Oh, incidentally, that's not Fort Knox. It's a film set here.
0:02:23 > 0:02:28Goldfinger in Buckinghamshire, Pinewood. And I'm not James Bond.
0:02:28 > 0:02:29He's a fictitious character.
0:02:31 > 0:02:35Sean Connery had taken a break from filming Goldfinger to reveal for
0:02:35 > 0:02:37the BBC, for the very first time,
0:02:37 > 0:02:42the true identity of Bond's armourer, Q.
0:02:42 > 0:02:45My name's Boothroyd. Geoffrey Boothroyd.
0:02:45 > 0:02:48Certain inaccuracies in the book made me write to Fleming
0:02:48 > 0:02:53and say that I didn't think Bond was going to last very long
0:02:53 > 0:02:56if he used a .25 Beretta pistol, which is a lady's gun,
0:02:56 > 0:02:58and not a very nice lady at that.
0:02:59 > 0:03:02Well, this is the gun Boothroyd objected to,
0:03:02 > 0:03:04Bond's favourite Beretta.
0:03:04 > 0:03:07Bond was using the shoulder holster at the time.
0:03:10 > 0:03:12But his favourite holster was shammy leather,
0:03:12 > 0:03:16because you see, it didn't spoil the line of the jacket.
0:03:16 > 0:03:19I take you over now to a film clip, you'll see here, where
0:03:19 > 0:03:22Major Boothroyd is convincing 007,
0:03:22 > 0:03:26in the company of M, of Fleming's mistake.
0:03:26 > 0:03:30From now on you carry a different gun. Show him, armourer.
0:03:30 > 0:03:32Walther PPK.
0:03:32 > 0:03:367.65mm with a delivery like a brick through a plate-glass window.
0:03:36 > 0:03:39Takes a Brausch silencer with very little reduction
0:03:39 > 0:03:40in muzzle velocity.
0:03:40 > 0:03:44- The American CIA swear by them. - Thank you, Major Boothroyd.
0:03:47 > 0:03:50Having exposed Q's real identity,
0:03:50 > 0:03:54the BBC sought to uncover the model for Bond himself.
0:03:54 > 0:03:57But his creator proved evasive.
0:03:57 > 0:03:59People do connect me with James Bond simply
0:03:59 > 0:04:03because I happen to like some of the things that James Bond does, but he
0:04:03 > 0:04:05is a sort of mixture of commandos
0:04:05 > 0:04:08and secret service agents that I met during the war.
0:04:08 > 0:04:11But of course, entirely fictionalised.
0:04:11 > 0:04:16I certainly haven't got his guts, nor his very lively appetite.
0:04:16 > 0:04:18However, his close friend
0:04:18 > 0:04:21and neighbour in Jamaica was far less guarded.
0:04:21 > 0:04:26I think that James Bond was Ian's dream fantasy of what...
0:04:28 > 0:04:29..he would like to be.
0:04:29 > 0:04:31Ruthless and dashing and...
0:04:32 > 0:04:35It's got, as Ian had, a schoolboy quality.
0:04:39 > 0:04:44And further revelations came from a certain flirtatious secretary.
0:04:44 > 0:04:48The first meeting with Ian was at a reception after
0:04:48 > 0:04:50we'd finished From Russia With Love.
0:04:50 > 0:04:54And suddenly he said, "Moneypenny, I want to thank you,
0:04:54 > 0:04:56"because when I first wrote
0:04:56 > 0:04:58"about Miss Moneypenny, I described
0:04:58 > 0:05:00"her as a tall, elegant woman with
0:05:00 > 0:05:05"the most kissable lips in the world."
0:05:05 > 0:05:08And he said, "You are so perfect..."
0:05:08 > 0:05:10And he was coming closer and closer
0:05:10 > 0:05:12to me, much to my delight!
0:05:12 > 0:05:15And when he was about this far away,
0:05:15 > 0:05:17I said, "What do you want me
0:05:17 > 0:05:19"to say - 'Prunes' or 'Cheese'?"
0:05:19 > 0:05:22And he said, "Prunes."
0:05:22 > 0:05:24And just as he was about to kiss me
0:05:24 > 0:05:25his wife said,
0:05:25 > 0:05:28"Oh, Ian, Bedford wants to speak to you."
0:05:31 > 0:05:33Moneypenny may have been smitten,
0:05:33 > 0:05:36but there were those who did not warm to Fleming at all.
0:05:36 > 0:05:38As BBC viewers found out
0:05:38 > 0:05:43when Malcolm Muggeridge quizzed a former MI6 agent turned spy novelist.
0:05:44 > 0:05:48I'm not sure that Bond is a spy, seems to me that he is more
0:05:48 > 0:05:53some kind of international gangster with, as is said, a licence to kill.
0:05:54 > 0:05:56He is a man with unlimited movement,
0:05:56 > 0:05:59but he is a man entirely out of the political context.
0:05:59 > 0:06:02It's of no interest to Bond who, for instance,
0:06:02 > 0:06:06is President of the United States.
0:06:06 > 0:06:09But these highfalutin intellectuals had failed to
0:06:09 > 0:06:12notice that it was actually the President himself who had
0:06:12 > 0:06:15brought Bond to the world's attention.
0:06:15 > 0:06:20In an article for Life magazine in March 1961, John F Kennedy had
0:06:20 > 0:06:24included From Russia With Love in a list of his ten favourite books.
0:06:24 > 0:06:29And this was just the break that two movie moguls needed.
0:06:29 > 0:06:30American Cubby Broccoli
0:06:30 > 0:06:33and Canadian Harry Saltzman had already bought
0:06:33 > 0:06:37the options on Fleming's novels, and with paperback sales rocketing after
0:06:37 > 0:06:41Kennedy's endorsement, they flew to New York to secure the deal with
0:06:41 > 0:06:46United Artists that would put James Bond on screen.
0:06:46 > 0:06:48Normally the question from the distributors was who was
0:06:48 > 0:06:53going to play in it, Cary Grant or James Mason or someone.
0:06:53 > 0:06:55When you surprise them by telling them you don't
0:06:55 > 0:06:58want a known name, you want an unknown,
0:06:58 > 0:06:59he's afraid and confused
0:06:59 > 0:07:02and it's a little more difficult to get the financing.
0:07:04 > 0:07:07But under pressure to cast a leading man, the producers
0:07:07 > 0:07:11stood their ground for a little-known Scottish actor called Sean Connery,
0:07:11 > 0:07:15who they believed best displayed the degree of masculine virility
0:07:15 > 0:07:16that Bond demanded.
0:07:18 > 0:07:21Cubby and I went through, I would say, 200 actors.
0:07:22 > 0:07:24I liked the way he moved,
0:07:24 > 0:07:27and the fact that he had a lot of acting experience.
0:07:27 > 0:07:29But he moves extremely well.
0:07:29 > 0:07:32There's only one other actor that moves as well as he does,
0:07:32 > 0:07:35it's Albert Finney. They move like cats.
0:07:35 > 0:07:39Very light. For a big man to be light on his feet is most unusual.
0:07:41 > 0:07:45However, Fleming remained equivocal, thinking Connery to be
0:07:45 > 0:07:50an over-developed stuntman without the social graces to play his hero.
0:07:50 > 0:07:52But his opinion was swayed when female friends
0:07:52 > 0:07:57of his pronounced Connery as most definitely having "it".
0:07:57 > 0:08:01I met Fleming two or three times and we got on very well,
0:08:01 > 0:08:03I liked him enormously.
0:08:03 > 0:08:06- DIFFERENT INTERVIEW: - He had such curiosity,
0:08:06 > 0:08:10and his knowledge was...och, so wide.
0:08:10 > 0:08:14Terrible snob, but terrific companion.
0:08:14 > 0:08:18But I think, in the main, he wanted somebody unknown.
0:08:20 > 0:08:25That they would not overshadow the character of James Bond.
0:08:27 > 0:08:28To the British public,
0:08:28 > 0:08:32James Bond perfectly caught the mood of the times and brought
0:08:32 > 0:08:37a sense of reassurance to a country in the grip of Cold War spy mania.
0:08:38 > 0:08:41If there was a third man, were you in fact the third man?
0:08:41 > 0:08:42No, I was not.
0:08:43 > 0:08:46Well, he's a free agent, as I said, at the present time,
0:08:46 > 0:08:47to go as he pleases.
0:08:50 > 0:08:54Dr No, released on the same day as The Beatles' first single,
0:08:54 > 0:08:57introduced a new emblem for a modern Britain.
0:08:59 > 0:09:04And when Bond's silhouette, or rather that of stuntman, Bob Simmons...
0:09:04 > 0:09:06GUNSHOT
0:09:06 > 0:09:08..came sauntering across cinema screens,
0:09:08 > 0:09:11audiences broke into spontaneous applause.
0:09:16 > 0:09:20It was with Goldfinger, the third film in the series,
0:09:20 > 0:09:23that the producers served up their winning cocktail.
0:09:23 > 0:09:27And the pre-title sequence is a stimulating aperitif of its own,
0:09:27 > 0:09:29with all the Bond ingredients.
0:09:31 > 0:09:34Beginning with a typically witty gadget,
0:09:34 > 0:09:37the sequence combined sleek interior sets...
0:09:39 > 0:09:40..stylish posturing...
0:09:43 > 0:09:44EXPLOSION
0:09:46 > 0:09:49..flagrant seduction of a dispensable femme fatale...
0:09:50 > 0:09:51SHE GASPS
0:09:51 > 0:09:54..and graphic violence.
0:09:54 > 0:09:58All culminating in a perfectly delivered throwaway line...
0:09:58 > 0:10:00Positively shocking.
0:10:00 > 0:10:03And a door slam to cue a knockout song.
0:10:03 > 0:10:08MUSIC: Goldfinger by Shirley Bassey
0:10:13 > 0:10:17# Goldfinger
0:10:17 > 0:10:19# He's the man
0:10:19 > 0:10:24# The man with the Midas touch
0:10:24 > 0:10:25# A spider's touch... #
0:10:25 > 0:10:29As both an establishment figure and icon of pop culture,
0:10:29 > 0:10:35James Bond was an easy target during what was the satire boom of the early 1960s.
0:10:35 > 0:10:42# Beckons you to enter his web of sin
0:10:42 > 0:10:44# But don't go in! #
0:10:44 > 0:10:46Shirley Bassey doesn't think much of you, for a start.
0:10:46 > 0:10:49I mean, she says you've got a cold finger, Goldfinger.
0:10:49 > 0:10:52LAUGHTER
0:10:52 > 0:10:55How she ever found that out, I don't know, but that's her business.
0:10:55 > 0:10:59Casino Royale and Diamonds Are Forever,
0:10:59 > 0:11:00From Russia With Sex.
0:11:01 > 0:11:03# Fish finger
0:11:03 > 0:11:09# He's the man The man with the fishy air
0:11:09 > 0:11:10# A fishy stare! #
0:11:10 > 0:11:11GUNSHOT
0:11:11 > 0:11:17For Your Thighs Only, Dr In The Know, Carry On Spy,
0:11:17 > 0:11:19Moon Finger and Muckraker.
0:11:21 > 0:11:22EXPLOSION
0:11:22 > 0:11:23WOMEN SCREAM
0:11:23 > 0:11:25Oh, well. There goes Cuba.
0:11:25 > 0:11:28There's such a lot of Bond to see, isn't there? Is there no end?
0:11:28 > 0:11:32We're proud to present tonight Bye-bye Bondy - the latest,
0:11:32 > 0:11:37indeed one might almost say the last episode in 007.
0:11:37 > 0:11:38It was a black letter day for Bond.
0:11:38 > 0:11:42He received someone, and lost no time in getting to the office of M, his chief.
0:11:42 > 0:11:45When Bond entered, M was inscrutable as always.
0:11:47 > 0:11:51David Frost's co-host, MM, Millicent Martin,
0:11:51 > 0:11:54would spoof Bond on her own show.
0:11:54 > 0:11:57And her choice of guest star would prove prophetic.
0:11:58 > 0:12:02Perhaps monsieur would like to take drinks on the patio?
0:12:02 > 0:12:05Yes, that's quite a nice little piscine-o you've got there.
0:12:05 > 0:12:06LAUGHTER AND APPLAUSE
0:12:06 > 0:12:09It was almost as if he was auditioning for the part
0:12:09 > 0:12:11a decade early.
0:12:11 > 0:12:13A nice secluded corner.
0:12:13 > 0:12:16Over there, Mr Bond?
0:12:16 > 0:12:20Yes, well, I, er, am on holiday. Thank you.
0:12:20 > 0:12:21Yes, Mr Smith.
0:12:28 > 0:12:32- Oh, oh!- Yes, and I'm "Oh-Oh-Seven," as if you didn't know.
0:12:32 > 0:12:34James Bond, what are you doing at my hotel?
0:12:34 > 0:12:37And what, may I ask, is Sonia Slokova, Russia's master spy,
0:12:37 > 0:12:38doing staying at my hotel?
0:12:38 > 0:12:39HE GRUNTS
0:12:48 > 0:12:52By 1965, nothing, it seemed, could match Bond.
0:12:52 > 0:12:54Not even The Beatles.
0:12:54 > 0:12:58The soundtrack to Goldfinger outsold the mop-tops.
0:13:00 > 0:13:04And during the filming of Thunderball in the Bahamas,
0:13:04 > 0:13:06Bond mania reached new heights.
0:13:06 > 0:13:08Or, rather, further depths.
0:13:12 > 0:13:15A press release, given to the BBC on location,
0:13:15 > 0:13:18described the hysteria around Connery
0:13:18 > 0:13:22when a group of American students swam out to his filming boat.
0:13:22 > 0:13:25"Speak to us," one of them called to him.
0:13:25 > 0:13:28"You are our leader and we are your people."
0:13:34 > 0:13:38The globe-trotting spy was now a trend-setting brand,
0:13:38 > 0:13:42whose personality and paraphernalia saturated public life.
0:13:45 > 0:13:49The Bond films set a complete style and had a tremendous influence
0:13:49 > 0:13:54on design throughout the whole range of the visual arts.
0:13:54 > 0:13:59Did it come as a surprise to you, in fact, the population took up many
0:13:59 > 0:14:01of the, sort of, Bond images and carried them?
0:14:01 > 0:14:05We never expected that tremendous success.
0:14:05 > 0:14:07But after the first we saw there was a market,
0:14:07 > 0:14:13the second we very carefully accentuated the successful parts.
0:14:15 > 0:14:19Bond's iconic car from Goldfinger, the Aston Martin DB5,
0:14:19 > 0:14:22proved a gift for merchandisers.
0:14:22 > 0:14:27And Corgi's miniature version would go on to sell in its millions.
0:14:27 > 0:14:29Whoops! Hello, there.
0:14:29 > 0:14:32Now, this is the star of the show, I think, because this is the model
0:14:32 > 0:14:35of the car that was made for James Bond in Goldfinger.
0:14:35 > 0:14:37You press that knob there...
0:14:37 > 0:14:40Out come the two overriders and the machine guns.
0:14:40 > 0:14:44Now, you've got somebody sitting next to you in the car, and you don't like him.
0:14:44 > 0:14:46Just watch the roof.
0:14:46 > 0:14:47Wahey! Out you come.
0:14:47 > 0:14:48There goes Odd Job.
0:14:48 > 0:14:52Now, every child could have their very own Bond gadget.
0:14:52 > 0:14:56Or, if you had the clout, you could just pop along to the factory
0:14:56 > 0:14:58and pick up a scale model for your son.
0:15:02 > 0:15:06But some BBC pundits were worried that Bond, as a commodity,
0:15:06 > 0:15:10was just a smokescreen for a character with very little depth.
0:15:10 > 0:15:13There's no mystery about James Bond.
0:15:13 > 0:15:18It's too easy, you see, with all this imitation equipment.
0:15:18 > 0:15:22The man himself is nothing, with due respect, Mr Connery.
0:15:22 > 0:15:25Personally, I have never been able to
0:15:25 > 0:15:28collapse into the arms of Mr Bond.
0:15:28 > 0:15:31I see a sort of new hero emerging now...
0:15:31 > 0:15:35The new one on the way is the transvestite...
0:15:35 > 0:15:37LAUGHTER
0:15:37 > 0:15:41..like Danny La Rue, a splendid...hero.
0:15:46 > 0:15:49As production began on the next Bond bonanza
0:15:49 > 0:15:52and amidst rumours that Connery was getting itchy feet in the role,
0:15:52 > 0:15:56the BBC undertook a more probing investigation into the current
0:15:56 > 0:15:58state of 007.
0:15:58 > 0:16:03And for such a special assignment, they sent in their top man.
0:16:05 > 0:16:09Japan, Pinewood style, and the first day shooting on the fifth
0:16:09 > 0:16:12film in the cinema's most spectacular saga.
0:16:12 > 0:16:16They're spending £3 million on You Only Live Twice,
0:16:16 > 0:16:19but it'll probably earn ten times that around the world.
0:16:19 > 0:16:21To write the script,
0:16:21 > 0:16:24which involved an entirely different plot to the book,
0:16:24 > 0:16:28the producers had drafted in an old chum of Ian Fleming's,
0:16:28 > 0:16:31but for the author of Charlie And The Chocolate Factory,
0:16:31 > 0:16:34writing a Bond film would be a very different confection.
0:16:34 > 0:16:38Did you have a certain number of things that you had to do?
0:16:38 > 0:16:41For example, Bond normally goes through women in a film, doesn't he?
0:16:41 > 0:16:44I don't know what you mean by going through them.
0:16:44 > 0:16:48Well, he disposes of them. They get killed, they sacrifice themselves.
0:16:48 > 0:16:50- Yes.- Are you up to ration?
0:16:50 > 0:16:55There's no question that you must stick to that sort of formula,
0:16:55 > 0:17:01I think, cos I asked that when I went in first. They said, "Oh, yes."
0:17:01 > 0:17:05I said, "He wants a woman, doesn't he,
0:17:05 > 0:17:08"to chase around and fall in love with?"
0:17:08 > 0:17:11And they said, "Well, three would be better."
0:17:12 > 0:17:17Whicker was on hand to watch the pre-title sequence being shot.
0:17:17 > 0:17:20- Better?- No, just different.
0:17:20 > 0:17:23Like Peking duck is different from ketchup.
0:17:23 > 0:17:25A clever tease in which Dahl flips Bond's
0:17:25 > 0:17:29weakness for women into his undoing.
0:17:29 > 0:17:33- Darling, I give you very best duck. - That would be lovely.
0:17:33 > 0:17:36We've had some interesting times together, Ling.
0:17:36 > 0:17:38I'll be sorry to go.
0:17:43 > 0:17:46MACHINE-GUN FIRE
0:17:46 > 0:17:50Stop, cut, cut!
0:17:50 > 0:17:54'So, James Bond's been shot where it hurts most, in bed.'
0:17:54 > 0:17:58- As Whicker slipped deeper under the covers...- Test three, take one.
0:17:58 > 0:18:00You are a slippery customer, aren't you?
0:18:00 > 0:18:04..he turned his beady eye on to a bevy of girls submitting
0:18:04 > 0:18:06themselves to the casting session.
0:18:06 > 0:18:10'Bond's birds seldom last more than ten minutes before something
0:18:10 > 0:18:12'frightful happens to them,
0:18:12 > 0:18:14'but during their brief, passionate posturing,
0:18:14 > 0:18:17'they brave piranhas and death rays for the pleasure of sharing
0:18:17 > 0:18:20'his bedroom and his vodka martinis.'
0:18:20 > 0:18:24What's a nice girl like you doing in a place like this?
0:18:24 > 0:18:27You are a handsome looking brute.
0:18:30 > 0:18:35'Eager to surrender their cinematic all, they're screen tested.
0:18:35 > 0:18:38'They're still not exposed to the real James Bond.
0:18:38 > 0:18:41'They have to make love to his substitute.'
0:18:41 > 0:18:43Cut.
0:18:43 > 0:18:46And to better understand the Bond girl vetting process,
0:18:46 > 0:18:50Whicker sounded out the film's director, Lewis Gilbert.
0:18:50 > 0:18:53Well, you know, there's a sort of classic tradition of Bond girls,
0:18:53 > 0:18:56but this one is a German or Swedish girl,
0:18:56 > 0:18:59but obviously, she must be pretty glamorous,
0:18:59 > 0:19:02but we are trying to do something different with a Bond girl.
0:19:02 > 0:19:05This time, we'd like to try and find somebody who can act.
0:19:05 > 0:19:08So, what's a nice girl like you doing in a place like this?
0:19:13 > 0:19:17Is it a bit too disfiguring when she goes very hard in?
0:19:17 > 0:19:19- No. Let him have his main speed. - Mm-hm.
0:19:21 > 0:19:23But as Whicker found out
0:19:23 > 0:19:26when he followed the production to Japan, wherever
0:19:26 > 0:19:31in the world Bond went, there was an expectation to conform to his values.
0:19:32 > 0:19:36The Ama pearl diving girls went on strike,
0:19:36 > 0:19:40frightened of over exposure. They're actually starlets and models.
0:19:40 > 0:19:43There's even a lift girl from the Tokyo Hilton.
0:19:43 > 0:19:46But east is east and none of these big city pearl divers wanted
0:19:46 > 0:19:48to be photographed in a bikini.
0:19:48 > 0:19:51They resisted the American public relations man who was after
0:19:51 > 0:19:53some Japanese cheesecake.
0:19:53 > 0:19:57- Let me explain... - I understand what you want.
0:19:57 > 0:19:58You don't understand what...
0:19:58 > 0:20:02I want to get all of them lined up in modern bathing costumes...
0:20:02 > 0:20:04- Right, you want them to take off their tops.- Yes. No.
0:20:04 > 0:20:06They don't want to.
0:20:06 > 0:20:09- I don't care what they want. - What's the trouble, Cubby?
0:20:09 > 0:20:12Oh, it's not really serious.
0:20:12 > 0:20:16We have eight Ama girls,
0:20:16 > 0:20:20or girls who are supposed to be Ama girls, they're Japanese...types.
0:20:20 > 0:20:24And the production department is having a difficult time
0:20:24 > 0:20:27getting them to remove their...
0:20:27 > 0:20:31Not their brassieres or anything, just their outer garments.
0:20:31 > 0:20:35They feel that they're not accustomed to
0:20:35 > 0:20:37walking around in bikinis.
0:20:37 > 0:20:41'Not until Broccoli got there, they weren't.'
0:20:44 > 0:20:48But there was further trouble in paradise and Whicker's cameras
0:20:48 > 0:20:52were there to capture the Bond wagon slowly coming off the rails.
0:20:52 > 0:20:54He's an actor, he's here to do a job.
0:20:54 > 0:20:59He's not just a publicity idol for them.
0:20:59 > 0:21:03He's here and he's not been given the privilege
0:21:03 > 0:21:06and respect of Japan for a certain amount of privacy.
0:21:06 > 0:21:09Connery felt he was no longer a human being,
0:21:09 > 0:21:14but a public institution and not so much an actor as a commodity.
0:21:14 > 0:21:19With fears of becoming typecast, of being overshadowed by gadgets
0:21:19 > 0:21:21and a gargantuan man-made volcano,
0:21:21 > 0:21:24Connery thought it was time to hang up his holster.
0:21:24 > 0:21:29I'm very tired because I've been... It's a long uphill grind.
0:21:29 > 0:21:32I'm...
0:21:32 > 0:21:38I've had a long sort of innings, as it were, and I want to change
0:21:38 > 0:21:42direction now, take another breath and do something else.
0:21:42 > 0:21:45- So, this is your last Bond film? - Yes.
0:21:47 > 0:21:49With Sean Connery's departure,
0:21:49 > 0:21:53the Bond franchise faced its first crisis.
0:21:53 > 0:21:58Connery had owned the part completely and a replacement seemed unthinkable.
0:21:58 > 0:22:01Although, Cubby Broccoli remained optimistic.
0:22:01 > 0:22:04This won't stop us from making another Bond cos an audience out
0:22:04 > 0:22:06there want to see it.
0:22:06 > 0:22:08We'll present what we have for their approval.
0:22:08 > 0:22:11You'd have a headache breaking in a new Bond, actually,
0:22:11 > 0:22:15- wouldn't you, after five? - Everything is a headache.
0:22:17 > 0:22:22In early 1968, the hunt was on for an actor to fill Connery's shoes,
0:22:22 > 0:22:27when a 29-year-old Australian model and used-car salesman called
0:22:27 > 0:22:31George Lazenby suddenly swaggered into Broccoli and Saltzman's office.
0:22:33 > 0:22:36I was standing there in a Connery suit, a Connery haircut,
0:22:36 > 0:22:38Rolex watch, crossed arms, saying,
0:22:38 > 0:22:41"I heard you're looking for James Bond."
0:22:41 > 0:22:44Broccoli had deep reservations about hiring a clothes peg,
0:22:44 > 0:22:47as he referred to Lazenby.
0:22:47 > 0:22:51So, over four months, they tested him against the rest of the cast, until
0:22:51 > 0:22:55finally Harry Saltzman said he wanted to see Lazenby in a fight scene.
0:22:55 > 0:22:57They got this big Russian guy.
0:22:57 > 0:23:00Well, I knocked him on his butt cos I didn't know how to miss.
0:23:00 > 0:23:03I thought, "Oh, my God, when this guy gets up, he's going
0:23:03 > 0:23:05"to kill me." He was a real Russian wrestler, you know?
0:23:05 > 0:23:08But he was OK and Harry stepped over him and says,
0:23:08 > 0:23:10"We're going with you."
0:23:17 > 0:23:19Aside from the small matter of finding a new Bond,
0:23:19 > 0:23:23On Her Majesty's Secret Service would see him get hitched
0:23:23 > 0:23:26and in choosing an actress of Diana Rigg's calibre,
0:23:26 > 0:23:30the producers hoped to increase the power of the film's romantic scenes.
0:23:30 > 0:23:34The BBC caught up with Rigg on location in Portugal to ask
0:23:34 > 0:23:37her what she felt the issues were for women in Bond's world.
0:23:37 > 0:23:39From the woman's point of view,
0:23:39 > 0:23:42mainly the fact that the women are victims
0:23:42 > 0:23:45and in our society at the moment, women are being very busy,
0:23:45 > 0:23:48trying to prove that they aren't victims,
0:23:48 > 0:23:51but Ian Fleming definitely, definitely puts them
0:23:51 > 0:23:54in a sort of subsidiary position and Bond uses them.
0:23:54 > 0:23:56They are vessels,
0:23:56 > 0:24:01either for his lust or to get to the big bad boss or something.
0:24:01 > 0:24:06They are ciphers. They are not real people.
0:24:07 > 0:24:11Alongside Rigg, these ciphers come in the form of a deadly harem
0:24:11 > 0:24:14under the control of the arch-villain Blofeld.
0:24:14 > 0:24:18But in this story, Fleming at last allows Bond to fall in love.
0:24:20 > 0:24:23In a sense, it's a game, but also it's quite a clever trick
0:24:23 > 0:24:30because the man who heretofore has been absolutely unobtainable
0:24:30 > 0:24:35suddenly decides through love or whatever to marry this girl
0:24:35 > 0:24:42and he subscribes, but Ian Fleming only allows him to subscribe for
0:24:42 > 0:24:46an hour after his wedding and then I get a bullet through one ear
0:24:46 > 0:24:48and out the other.
0:24:49 > 0:24:52GUNFIRE
0:24:54 > 0:24:55It's Blofeld.
0:24:57 > 0:24:59Blofeld.
0:25:03 > 0:25:06You know, it's quite a good trick because it means
0:25:06 > 0:25:12he has all the right motives, deep down, underneath.
0:25:12 > 0:25:16In other words, he is prepared to get married, if he loves the girl.
0:25:16 > 0:25:20But then by some terrible trick of fate, she's taken away from him
0:25:20 > 0:25:24and he's suddenly available for all those females again.
0:25:24 > 0:25:26Slightly embittered, you know.
0:25:26 > 0:25:30But becoming Bond was to leave Lazenby embittered too.
0:25:30 > 0:25:34Reports had circulated that he was awkward and arrogant on set,
0:25:34 > 0:25:37overwhelmed by the responsibility of the role.
0:25:37 > 0:25:41The critics rather brutally pounded him with such comments as
0:25:41 > 0:25:44"His "lines carry about as much conviction as an insecticide
0:25:44 > 0:25:46"salesman at a flea circus",
0:25:46 > 0:25:49but in spite of the critics, Mr Lazenby appears to know
0:25:49 > 0:25:53his own mind and has maintained a stubborn sense of individuality.
0:25:53 > 0:25:55He grew a beard, for instance,
0:25:55 > 0:25:58and refused to shave it off for the film premiere.
0:25:58 > 0:26:03Anyone can understand that James Bond isn't a real person and they're
0:26:03 > 0:26:06not going to mind the fact that I haven't had a shave for a month.
0:26:06 > 0:26:09Everyone knows that James Bond must have a beard, even though
0:26:09 > 0:26:11you never see it in the film.
0:26:11 > 0:26:15What about the reports that you were deliberately awkward and hostile?
0:26:15 > 0:26:19Well, they were true in a way because I was very uptight lots of
0:26:19 > 0:26:23the time because I didn't understand exactly what was going on.
0:26:23 > 0:26:26And the only person you can ask...
0:26:26 > 0:26:29The only person who knew what was going on was the director.
0:26:29 > 0:26:34And he didn't really feel that an actor was important in the role.
0:26:34 > 0:26:37He felt that you could get any guy, put him in that part
0:26:37 > 0:26:41and make him James Bond, providing he looked similar to what the
0:26:41 > 0:26:45public feel James Bond looks like. And this came...
0:26:45 > 0:26:48That vibration came off the director on to me all the time.
0:26:51 > 0:26:55Lazenby had begun to fear that Bond wasn't quite as far
0:26:55 > 0:26:58out as he could be in 1969.
0:26:58 > 0:27:02This was now the era of peace, not war, he thought.
0:27:02 > 0:27:05Well, how about the director? Did he agree with your idea of Bond?
0:27:05 > 0:27:07Well, no.
0:27:07 > 0:27:11They had a set formula, which was a winner previous
0:27:11 > 0:27:13and you can't blame them for not agreeing with me
0:27:13 > 0:27:15because I was a learner.
0:27:15 > 0:27:17I felt quite confident that if they did change it,
0:27:17 > 0:27:20like putting pop music behind it,
0:27:20 > 0:27:24rather than the sort of light music
0:27:24 > 0:27:27they have, and things like that, it
0:27:27 > 0:27:31would have lifted the whole thing up
0:27:31 > 0:27:35again into another decade, 1970.
0:27:35 > 0:27:38ENGINE REVS
0:27:38 > 0:27:41Lazenby, feeling that Bond had no place in the emerging
0:27:41 > 0:27:45counterculture, kept the beard and hit the road.
0:27:53 > 0:27:57With Lazenby gone, a plan was hatched to lure back Sean Connery,
0:27:57 > 0:28:00who was only too aware of the strong bargaining position
0:28:00 > 0:28:05he now found himself in, as he candidly let slip to the BBC.
0:28:05 > 0:28:07Having been away for four years, I think
0:28:07 > 0:28:10one had made the point too with the lack of success of the one
0:28:10 > 0:28:14previous, the one that I wasn't in anyway,
0:28:14 > 0:28:18and coming back in to do this one,
0:28:18 > 0:28:21the wicket was better for me
0:28:21 > 0:28:26to make the conditions of not being so much a pawn in the circumstances.
0:28:28 > 0:28:32Also, I didn't think I got a fair piece of the cake.
0:28:32 > 0:28:34- You mean financially?- Yes.
0:28:34 > 0:28:37Connery had been tempted back,
0:28:37 > 0:28:40not only with the promise of a tremendous fee,
0:28:40 > 0:28:42but also by the quality of the script,
0:28:42 > 0:28:46drafted by a young American screenwriter called Tom Mankiewicz.
0:28:46 > 0:28:49I hope that Guy Hamilton, the director,
0:28:49 > 0:28:51and myself, with the assistance of Tom Mankiewicz,
0:28:51 > 0:28:53who has written the screenplay,
0:28:53 > 0:28:57which incidentally I think is probably the best one they've had,
0:28:57 > 0:29:00certainly construction wise for a beginning and a middle
0:29:00 > 0:29:05and an end of a story. It's a very good script.
0:29:05 > 0:29:11I hope it's got enough... I think that there's humour in it.
0:29:11 > 0:29:14And for this moment in a Las Vegas casino,
0:29:14 > 0:29:18Connery and Mankiewicz shared the writing honours.
0:29:18 > 0:29:20Hi, I'm Plenty.
0:29:20 > 0:29:22- But of course you are. - Plenty O'Toole.
0:29:22 > 0:29:27- Named after your father, perhaps? - Would you like some help?
0:29:27 > 0:29:29On the craps, I mean.
0:29:29 > 0:29:31That's very kind of you.
0:29:31 > 0:29:34The camp and breezy tone of Diamonds Are Forever, with its liberal
0:29:34 > 0:29:38use of smutty humour, was a new throw of the dice for the Bond franchise.
0:29:45 > 0:29:47To see if this gamble was paying off,
0:29:47 > 0:29:51the BBC despatched one of its top entertainers to Sin City.
0:29:53 > 0:29:57Derek Nimmo arrived just as Connery was shooting his first scenes,
0:30:02 > 0:30:05a frenetic car chase on the downtown strip...
0:30:07 > 0:30:09..involving real pedestrians.
0:30:09 > 0:30:13And you couldn't get much closer to the action than Nimmo did...
0:30:14 > 0:30:16..as he almost found out to his peril.
0:30:20 > 0:30:22- What the hell are you doing?- I'm...
0:30:22 > 0:30:24Sean?
0:30:24 > 0:30:26What are you doing here?
0:30:26 > 0:30:31- Derek Nimmo?- I'm terribly sorry. Why are you driving on the pavement?
0:30:31 > 0:30:33I'm making Diamonds Are Forever.
0:30:33 > 0:30:35It's a film.
0:30:35 > 0:30:38A film. Oh, I see, you're not in trouble then?
0:30:38 > 0:30:41As a matter of fact, I rather am in trouble.
0:30:41 > 0:30:44I was here for the gambling and I won quite a lot really,
0:30:44 > 0:30:49but I'm down now to about 1,700 and I don't quite know what to do.
0:30:49 > 0:30:52Well, if I were you, I'd get the hell out of it.
0:30:52 > 0:30:56Connery's swift exit after Diamonds Are Forever would cause the producers
0:30:56 > 0:31:00to begin their hunt for what would be the third different
0:31:00 > 0:31:02Bond in less than four years.
0:31:02 > 0:31:04But many, including Connery,
0:31:04 > 0:31:07were feeling the series may have run its course.
0:31:07 > 0:31:11I came back for the one, that was the understanding.
0:31:11 > 0:31:15I'd do the one and I've got other things I want to do.
0:31:15 > 0:31:19I mean, it's perfectly possible that the cycle has ended.
0:31:19 > 0:31:21But far from ending the cycle,
0:31:21 > 0:31:25it was Mankiewicz's sparkling one-liners and Connery's
0:31:25 > 0:31:29tongue-in-cheek approach that would set the tone for the coming films.
0:31:30 > 0:31:34Sean Connery was the first screen Bond, but now that he no longer
0:31:34 > 0:31:37plays the role, United Artists have laid him to rest. "Sean who?"
0:31:37 > 0:31:38they say. "No, no.
0:31:38 > 0:31:41"There's only one James Bond and that's Roger Moore,"
0:31:41 > 0:31:44who of course just happens to be the latest.
0:31:44 > 0:31:48Lowering his gun and raising his eyebrow, Roger Moore seemed to
0:31:48 > 0:31:53continue from where he'd left off on the Millicent Martin Show in 1964.
0:31:53 > 0:31:56Black queen on the red king, Miss...?
0:31:56 > 0:31:58Solitaire.
0:31:59 > 0:32:01My name's Bond.
0:32:01 > 0:32:03James Bond.
0:32:03 > 0:32:05I know who you are,
0:32:05 > 0:32:08what you are and why you have come.
0:32:08 > 0:32:10You have made a mistake.
0:32:10 > 0:32:13You will not succeed.
0:32:13 > 0:32:15Did Solitaire know something we didn't?
0:32:20 > 0:32:22Moore determined to play the role for laughs.
0:32:25 > 0:32:30But there were concerns as to whether he could really cut it as James Bond.
0:32:31 > 0:32:35When you took over from Sean Connery, because it was new and
0:32:35 > 0:32:37because it was different, people all said,
0:32:37 > 0:32:40"Oh, well, Roger Moore is not my idea of 007.
0:32:44 > 0:32:47"And he's not like Sean Connery and it's a great failure."
0:32:47 > 0:32:50I mean, do you mind that kind of hammering?
0:32:50 > 0:32:55Erm... No, not really because I say it before they do.
0:32:55 > 0:32:59I think the first time they went to see Live And Let Die was
0:32:59 > 0:33:03just to see if I was going to be as bad as they thought I would be.
0:33:08 > 0:33:10With the uncertainty of a new Bond,
0:33:10 > 0:33:15the producers had felt panicked into chasing current cinema trends, but
0:33:15 > 0:33:19James Bond sat uncomfortably in both a Blaxploitation milieu
0:33:19 > 0:33:21and a kung fu craze.
0:33:21 > 0:33:23Stand back, girls.
0:33:26 > 0:33:31In 1975, Harry Saltzman, beset by financial difficulties,
0:33:31 > 0:33:35was forced to sell his share in the Bond franchise to United Artists.
0:33:35 > 0:33:38The break-up of his winning partnership with Cubby Broccoli,
0:33:38 > 0:33:41together with the lukewarm reception
0:33:41 > 0:33:45for The Man With The Golden Gun couldn't have come at a worse time.
0:33:45 > 0:33:49By the mid-1970s, film production in Britain was in harsh decline,
0:33:49 > 0:33:54but undeterred, Broccoli resolved to go for broke with his next venture,
0:33:54 > 0:33:58The Spy Who Loved Me, determined that Bond would keep the British end up.
0:34:01 > 0:34:04Obviously we do make the picture for a worldwide market
0:34:04 > 0:34:07and I think that's the hope of the British industry.
0:34:07 > 0:34:10We feel we have to do something more outrageous, more bizarre
0:34:10 > 0:34:12and more unique.
0:34:14 > 0:34:16For Broccoli and the Bond franchise,
0:34:16 > 0:34:19this would be a very symbolic leap of faith.
0:34:25 > 0:34:29The film's audacious opening stunt was filmed from multiple angles,
0:34:29 > 0:34:33but they went with a single shot and the whole world held its breath.
0:34:36 > 0:34:40JAMES BOND THEME TUNE
0:34:42 > 0:34:44Such was the confidence in The Spy Who Loved Me
0:34:44 > 0:34:47and the feeling that it might just prove
0:34:47 > 0:34:50the saviour of the British film industry, that the BBC,
0:34:50 > 0:34:53in collaboration with the Open University,
0:34:53 > 0:34:57secured unique access to the film's production, as the basis for a
0:34:57 > 0:35:02course on, promisingly entitled, Mass Communications and Society.
0:35:04 > 0:35:08GUNSHOT
0:35:10 > 0:35:13My name is Bond.
0:35:13 > 0:35:15James Bond.
0:35:15 > 0:35:19The resulting eight-part series examined all aspects of Bondiana,
0:35:19 > 0:35:23from giving Bond a new soundtrack for the 1970s...
0:35:23 > 0:35:26I was very anxious to write a song that I thought was completely
0:35:26 > 0:35:28different than any of the songs that
0:35:28 > 0:35:31have been written for the Bond films.
0:35:31 > 0:35:34And I also didn't want them to quite be about the villain.
0:35:34 > 0:35:36I wanted a song written about Bond.
0:35:36 > 0:35:39I thought it was time that he be pretentious enough
0:35:39 > 0:35:43and vain enough, in fact, to have a song written about him.
0:35:43 > 0:35:47..to the usual pressures of being a Bond girl.
0:35:47 > 0:35:51The one thing that sometimes I don't particularly like is the...
0:35:53 > 0:35:56Let's say the sex symbol part of it,
0:35:56 > 0:36:02as most of the Bond girls have been because that is not at all my scene.
0:36:02 > 0:36:06And cameras eavesdropped as set designer Ken Adam explained his
0:36:06 > 0:36:09concept for the film's centrepiece to director Lewis Gilbert.
0:36:09 > 0:36:13- My feeling is as the submarine goes in...- Into darkness.
0:36:13 > 0:36:17Into darkness, you know, with a high fin, I think that will
0:36:17 > 0:36:18give you a very good...
0:36:18 > 0:36:22I discussed with Claude yesterday actually, I thought the best
0:36:22 > 0:36:27way of showing the set was to suddenly switch on all the lights.
0:36:27 > 0:36:30SIRENS BLARE
0:36:33 > 0:36:36The 380ft long set is a life-size mock up
0:36:36 > 0:36:40of the interior of a 600,000 tonne supertanker,
0:36:40 > 0:36:42containing three submarines,
0:36:42 > 0:36:46floating in 1.2 million gallons of water.
0:36:46 > 0:36:49As if that wasn't enough to keep the 400 guests wondering,
0:36:49 > 0:36:53girls from the cast stripped off their minks in sub-zero
0:36:53 > 0:36:56temperatures, all in the name of publicity.
0:36:56 > 0:37:01The film is costing over £6 million and this set alone, £1 million.
0:37:01 > 0:37:06Appropriately, 007 himself arrived in futuristic style.
0:37:08 > 0:37:11And then with his adversary, a female Russian super spy,
0:37:11 > 0:37:13accompanied the ex-Prime Minister
0:37:13 > 0:37:15around the world's largest film stage.
0:37:17 > 0:37:21Believing they had a hit on their hands, United Artists spent
0:37:21 > 0:37:25a record 4.4 million on worldwide publicity.
0:37:25 > 0:37:29And who better to front it than the man himself?
0:37:32 > 0:37:36My name's Bond, James Bond, and I'm licensed to kill.
0:37:36 > 0:37:39There's a royal premiere tonight, it's the latest Bond,
0:37:39 > 0:37:42The Spy Who Loved Me. It has women, action and me.
0:37:42 > 0:37:46So have you tonight on Nationwide at 6:20.
0:37:46 > 0:37:49I'm Roger Moore, so watch The Spy Who Loved Me and you'll
0:37:49 > 0:37:50love James Bond.
0:37:52 > 0:37:54It still works - on the third take.
0:37:56 > 0:37:59Roger, you do spoof the part a bit, don't you?
0:37:59 > 0:38:02- You think it's funny, in a way. - Well, of course, the...
0:38:03 > 0:38:07The whole thing is that you must not laugh at it.
0:38:07 > 0:38:11You must let the audience know that they are invited to laugh with you.
0:38:11 > 0:38:14And so it's all a spoof, it's fun.
0:38:15 > 0:38:18The film's most topical gag came in the form of its
0:38:18 > 0:38:21larger-than-life-villain, Jaws.
0:38:22 > 0:38:25Bond's most formidable foe since Oddjob.
0:38:27 > 0:38:30This marvellous man who plays Jaws, he is 7'2".
0:38:30 > 0:38:33When he was grappling with you in the railway carriage,
0:38:33 > 0:38:35what was it like?
0:38:35 > 0:38:37- Is he...- It was hell.
0:38:37 > 0:38:40He is a very gentle man, very nice, but he's very heavy.
0:38:40 > 0:38:44And when he had me squashed up against that wall...
0:38:44 > 0:38:48Like 20st pushing this bone here right through to the back.
0:38:48 > 0:38:50Yes.
0:38:52 > 0:38:55Bond's highly choreographed confrontations with Jaws
0:38:55 > 0:38:58were a large part of the film's phenomenal success.
0:39:00 > 0:39:01BOND GROANS
0:39:01 > 0:39:03TRAIN HORN BLARES
0:39:16 > 0:39:19And so popular was this mighty-mouthed adversary
0:39:19 > 0:39:22that when the production jetted off to Rio de Janeiro
0:39:22 > 0:39:25for the next movie, they did the unthinkable.
0:39:30 > 0:39:33We've done something in this film that's never been done in any
0:39:33 > 0:39:36Bond film - we've had to bring him back.
0:39:36 > 0:39:39And really that's partly because there's so many people
0:39:39 > 0:39:42round the world that wrote in saying, "Is he going to come back?"
0:39:42 > 0:39:44So we had to bow to that kind of thing.
0:39:47 > 0:39:50We should stop altogether at one point...
0:39:50 > 0:39:53and be suspended and be looking ahead at what...
0:39:53 > 0:39:55At, you know, the other cable car.
0:39:58 > 0:40:02From high jinks over Rio to laser battles in outer space,
0:40:02 > 0:40:06Moonraker was, quite simply, out of this world.
0:40:06 > 0:40:09But James Bond would come hurtling back to Earth
0:40:09 > 0:40:12for an unusually close encounter.
0:40:12 > 0:40:15- BARRY NORMAN:- It is being said, at the moment, that another
0:40:15 > 0:40:17rival James Bond film is going to be set up with your own
0:40:17 > 0:40:20original James Bond, Sean Connery, playing the part.
0:40:20 > 0:40:22Does that worry you at all?
0:40:22 > 0:40:25Well, that's a, that's a legal thing.
0:40:25 > 0:40:27I'm not going to get into any legal, erm,
0:40:27 > 0:40:30discussions about it.
0:40:30 > 0:40:32But would it worry you if, if such a film were to be made?
0:40:32 > 0:40:35Nothing worries me if I'm making a good film.
0:40:35 > 0:40:38Broccoli may have brushed off the question,
0:40:38 > 0:40:40but Barry Norman was on to something,
0:40:40 > 0:40:44and by the summer of 1983 - look who was back.
0:40:44 > 0:40:4638... Roll camera.
0:40:46 > 0:40:49Connery was in production on the aptly-titled
0:40:49 > 0:40:53Never Say Never Again - a remake of Thunderball -
0:40:53 > 0:40:56the film rights of which resided with an independent producer.
0:40:56 > 0:40:59It seemed quite a good idea after all these years,
0:40:59 > 0:41:02and the moment I said, "Yeah, OK, I'll do it,"
0:41:02 > 0:41:04there was a terrific furore.
0:41:04 > 0:41:07With Roger Moore then in production on Octopussy,
0:41:07 > 0:41:10the press looked to stoke up a bitter rivalry,
0:41:10 > 0:41:13but the 00s were having none of it.
0:41:13 > 0:41:16I...made it quite clear at the outset
0:41:16 > 0:41:19that I was not in any way going to get involved in any silly race
0:41:19 > 0:41:22in terms of rivalry or whatever. As you well know,
0:41:22 > 0:41:25I've known Roger 20 years or so. And I did say to him,
0:41:25 > 0:41:29"You know, they're going to try and play a sort of hype business,
0:41:29 > 0:41:31"but you shouldn't really pay any attention to it."
0:41:31 > 0:41:34And, erm, we didn't.
0:41:34 > 0:41:38However, the BBC hardly remained impartial themselves.
0:41:38 > 0:41:41Good evening from the Warner Theatre in Leicester Square,
0:41:41 > 0:41:44where the crowds are already beginning to gather
0:41:44 > 0:41:47because James Bond is back - the real James Bond,
0:41:47 > 0:41:50at least, the real one in many people's eyes.
0:41:50 > 0:41:52Not Roger Moore, the pretender who has usurped the role
0:41:52 > 0:41:56for the last 12 years, but the original - Sean Connery.
0:41:56 > 0:41:59Welcome back, James, as it were. I must put it to you,
0:41:59 > 0:42:02this is rather unfair, but I was looking at the 00 rule book,
0:42:02 > 0:42:05and it turns out that it's automatic retirement at 45 -
0:42:05 > 0:42:08- did you know that? - Yeah, well, I've got two years yet.
0:42:08 > 0:42:10MICHAEL WOOD CHUCKLES
0:42:12 > 0:42:15By the mid-1980s, James Bond had become something of a
0:42:15 > 0:42:18- middle-aged man's fantasy. - Do you hear the muttering?
0:42:18 > 0:42:21Do you listen out for what people are saying about the movie?
0:42:21 > 0:42:23Or about you specifically?
0:42:23 > 0:42:25"Oh, it's old Moore again," they say.
0:42:25 > 0:42:28- LAUGHTER - "Old Rog."
0:42:28 > 0:42:31Roger Moore seemed to be a long way from leaping over crocodiles.
0:42:31 > 0:42:35Approaching 60, he now jogged about in a suede blouson.
0:42:35 > 0:42:37What was it you were just running away from, then?
0:42:37 > 0:42:39A bad cigar.
0:42:39 > 0:42:43- 38... - And in rather less exotic locations.
0:42:43 > 0:42:46We're in the Amberley Chalk Pits Museum in Sussex,
0:42:46 > 0:42:50it's a goldmine...presumably in San Francisco, or near
0:42:50 > 0:42:51San Francisco.
0:42:51 > 0:42:54And, er...
0:42:54 > 0:42:57the mines are about to be blown up to flood Silicon Valley,
0:42:57 > 0:43:01because Zorin, Christopher Walken, is going to take over the
0:43:01 > 0:43:04world's production of microchips.
0:43:04 > 0:43:07But when the action itself involves the chief villain,
0:43:07 > 0:43:11a peroxide Walken, escaping at 5mph in a mine cart...
0:43:13 > 0:43:15..a damsel in little distress...
0:43:15 > 0:43:16James!
0:43:17 > 0:43:19..and a blow-up Grace Jones...
0:43:23 > 0:43:26..the writing seemed to be on the wall.
0:43:26 > 0:43:30A View To A Kill was to be Roger Moore's farewell to the character
0:43:30 > 0:43:33he had inhabited since 1973.
0:43:33 > 0:43:36Having led the field, Bond was now in danger of being eclipsed by
0:43:36 > 0:43:39a new breed of imitator -
0:43:39 > 0:43:44the all-American action hero. But...you can't keep a good man down.
0:43:45 > 0:43:47A new man is about to take on the villains who want
0:43:47 > 0:43:51to cause mischief around the world - we have a new James Bond.
0:43:51 > 0:43:55After Connery, Lazenby and Moore, now it's...Dalton,
0:43:55 > 0:43:59Timothy Dalton. A Welsh actor who's more used to playing Shakespeare
0:43:59 > 0:44:00than secret agent.
0:44:06 > 0:44:08And it was to be a stagey entrance.
0:44:08 > 0:44:11In the pre-title for The Living Daylights, not one,
0:44:11 > 0:44:15but three 00 agents are presented to us in a training exercise
0:44:15 > 0:44:17on the Rock of Gibraltar...
0:44:17 > 0:44:19No!
0:44:19 > 0:44:20HE SCREAMS
0:44:20 > 0:44:23But it's only when one of them falls to his death
0:44:23 > 0:44:26that we first catch sight of a new hard-edged James Bond,
0:44:26 > 0:44:29both brooding and Byronic.
0:44:31 > 0:44:35And inevitably, the comparison game began.
0:44:35 > 0:44:37- BARRY NORMAN:- Well, now, how will the new James Bond
0:44:37 > 0:44:39differ from his various predecessors?
0:44:39 > 0:44:42I don't make those comparisons.
0:44:42 > 0:44:45I have a script called The Living Daylights,
0:44:45 > 0:44:47a character called James Bond and...
0:44:49 > 0:44:54..I did my best to make it as well as I can. I can't think of...
0:44:56 > 0:45:00..copying or being different to. I try to be original.
0:45:00 > 0:45:05I studied the books and tried to bring THAT Bond into this film.
0:45:05 > 0:45:08Your comrades in the Soviet Union...
0:45:08 > 0:45:09GUNSHOTS AND SCREAMS
0:45:13 > 0:45:14GUNSHOT
0:45:14 > 0:45:17How much of the stunt work does Timothy Dalton do himself?
0:45:17 > 0:45:21This is the sort of question...that you should not be asking.
0:45:21 > 0:45:22Cinema is magic.
0:45:24 > 0:45:26When people pay their money and go and sit inside a cinema,
0:45:26 > 0:45:27they must believe.
0:45:28 > 0:45:31And programmes like this...
0:45:31 > 0:45:35I mean, betray all our tricks. You wouldn't expect a conjuror
0:45:35 > 0:45:38or a magician to give his tricks away.
0:45:38 > 0:45:42Now, the truth of the matter is that I do as much action as I can.
0:45:42 > 0:45:45GUNFIRE
0:45:45 > 0:45:48That is...until it came to the bedroom action,
0:45:48 > 0:45:52which would see Dalton's Bond forego the usual casual liaisons
0:45:52 > 0:45:54for a Hitchcock-ian love story.
0:45:54 > 0:45:57FAIRGROUND SCREAMS
0:45:57 > 0:45:59Take me on the wheel.
0:45:59 > 0:46:02I think this film... It's not just an action adventure film,
0:46:02 > 0:46:04it's the first time we've seen what could be called
0:46:04 > 0:46:09a romantic mystery thriller. There's an honest and good
0:46:09 > 0:46:12relationship with the leading lady.
0:46:12 > 0:46:15However, the press were keen to make Bond's monogamy
0:46:15 > 0:46:18more topical than the producers had perhaps intended.
0:46:18 > 0:46:22With headlines that this was a safe-sex Bond for the AIDS era.
0:46:22 > 0:46:26But a more likely explanation is that it was all part of
0:46:26 > 0:46:29Dalton's aim to return to Ian Fleming's Bond,
0:46:29 > 0:46:33who was far from being the kind of Casanova that everyone imagined.
0:46:33 > 0:46:36He has, sort of, one girl per book, approximately.
0:46:36 > 0:46:39And that's one a year. I think that's... He's a bachelor...
0:46:39 > 0:46:41INTERVIEWER CHUCKLES QUIETLY
0:46:41 > 0:46:43..and he moves around the world pretty rapidly,
0:46:43 > 0:46:46and, um, I didn't see any great harm in that, myself.
0:46:47 > 0:46:50Fleming's Bond is...
0:46:50 > 0:46:54a man who often was extremely vulnerable.
0:46:54 > 0:46:57You read passage after passage after passage throughout the books
0:46:57 > 0:47:02where...his insides were taut and wrenching with nerves.
0:47:02 > 0:47:05Where, you know, he'd have to have a drink or a pill
0:47:05 > 0:47:08just to stay calm, in order to do the job he had to do.
0:47:09 > 0:47:14Coming hard on the heels of Roger Moore's long and light-hearted reign,
0:47:14 > 0:47:17the world was not quite ready for Dalton's taut
0:47:17 > 0:47:19and unsmiling secret agent.
0:47:19 > 0:47:24His second outing - Licence To Kill - still rated the most violent
0:47:24 > 0:47:27Bond film to date, would be his last.
0:47:27 > 0:47:30And by the early 1990s the franchise was in jeopardy,
0:47:30 > 0:47:34plagued by a series of legal disputes over copyright.
0:47:34 > 0:47:38This was a time of dramatic political shifts in Europe,
0:47:38 > 0:47:43and 007, the quintessential Cold War hero, suddenly seemed obsolete.
0:47:46 > 0:47:49It was to be the longest hiatus in Bond's film history.
0:47:49 > 0:47:52But in 1994...he was back.
0:47:55 > 0:47:57Pierce Brosnan, the new Bond, unveiled a few minutes ago,
0:47:57 > 0:48:01made his name as an action man in the US TV series Remington Steele.
0:48:01 > 0:48:04Now he has to prove the Bond formula and the character
0:48:04 > 0:48:06can still work in the '90s.
0:48:07 > 0:48:10It was a shaky start, though, as shown when the BBC
0:48:10 > 0:48:12caught Brosnan off-guard.
0:48:12 > 0:48:15Well, now I'm joined from Central London by the new 007,
0:48:15 > 0:48:18- Pierce Brosnan. Pierce Brosnan, congratulations.- Thank you.
0:48:18 > 0:48:21Are you going to be bringing anything new to this role?
0:48:21 > 0:48:27- Er, myself, I'm new. Erm...- Yes, but what's going to be different?
0:48:27 > 0:48:31Well, I think we have a... With the story outline we've got now
0:48:31 > 0:48:32we have, um...
0:48:33 > 0:48:36He hadn't a clue. But by the time cameras caught up with him
0:48:36 > 0:48:39on location, he was the model Bond.
0:48:40 > 0:48:43The main task at hand is really getting this film
0:48:43 > 0:48:45and telling the story.
0:48:45 > 0:48:46And we are doing that,
0:48:46 > 0:48:50we have a wonderful director in Martin Campbell...
0:48:50 > 0:48:52who's very hungry for this, and likewise myself
0:48:52 > 0:48:54in wanting to get it right.
0:48:54 > 0:48:58For a new Bond and a new director, it was a daunting task.
0:49:01 > 0:49:04What we're filming today is the streets of St Petersburg.
0:49:04 > 0:49:06We built this set here at Leavesden, as you can see.
0:49:06 > 0:49:09I've got an 18-week shoot, I've got four units at any one time.
0:49:09 > 0:49:12Right? You can hear them all yelling and screaming around the corner -
0:49:12 > 0:49:15they probably want me to get round there.
0:49:15 > 0:49:18- BARRY NORMAN:- On the day we turned up on set, Brosnan was concerned
0:49:18 > 0:49:21that we weren't seeing Bond in quite the right light.
0:49:21 > 0:49:23I'm going to be doing action tomorrow...
0:49:23 > 0:49:26I will be more Bond tomorrow, I promise you, Barry.
0:49:26 > 0:49:29I'm sorry it's a bit boring today, and it's...
0:49:30 > 0:49:33..this is all she wrote, you know.
0:49:33 > 0:49:36Tomorrow I have the gun and I have the girl.
0:49:36 > 0:49:39And Brosnan was true to his word.
0:49:39 > 0:49:41And ACTION!
0:49:41 > 0:49:44The next day, he swapped his Russian run-around for something
0:49:44 > 0:49:47a bit bigger - in a scene that took six weeks to film.
0:50:18 > 0:50:21As well as witty action scenes, director Martin Campbell,
0:50:21 > 0:50:25together with his screenwriters, set about bringing back the familiar,
0:50:25 > 0:50:27such as Bond's old Aston Martin DB5.
0:50:31 > 0:50:35But there was nothing predictable about their recasting of M.
0:50:35 > 0:50:38And in handing HER the line that had been coming to Bond
0:50:38 > 0:50:41for more than 30 years.
0:50:41 > 0:50:43I think you're a sexist, misogynist dinosaur,
0:50:43 > 0:50:45a relic of the Cold War...
0:50:45 > 0:50:47whose boyish charms, though wasted on me,
0:50:47 > 0:50:51obviously appeal to that young woman I sent out to evaluate you.
0:50:51 > 0:50:53Point taken.
0:50:53 > 0:50:57Stella Rimington, the Director General of MI5 at the time,
0:50:57 > 0:50:59was convinced that they had merged fact and fiction in
0:50:59 > 0:51:01casting Judi Dench.
0:51:01 > 0:51:03I can't imagine,
0:51:03 > 0:51:06that had my appointment not been publicly announced,
0:51:06 > 0:51:08the producers of the James Bond film would EVER
0:51:08 > 0:51:12have thought of making M a woman. I was quite taken aback, actually,
0:51:12 > 0:51:15because she did look quite like I looked in those days.
0:51:15 > 0:51:19I had a jacket without a collar and a sort of three-quarter length...
0:51:19 > 0:51:22Which is exactly what she was wearing.
0:51:22 > 0:51:24APPLAUSE AND CHEERING
0:51:24 > 0:51:28But despite their similarities, the true inspiration for a female M
0:51:28 > 0:51:31was revealed on Pebble Mill by no less than the former
0:51:31 > 0:51:33Miss Moneypenny herself.
0:51:34 > 0:51:38Cubby Broccoli called me to say that they wouldn't be using me.
0:51:38 > 0:51:41And I said, "Well, that's all right, because I want to play M."
0:51:41 > 0:51:45So, all those years ago, I had given them the idea that
0:51:45 > 0:51:49there would be a tremendous element of surprise if the new Bond
0:51:49 > 0:51:52walked into M's office...
0:51:52 > 0:51:56the chair swivelled around...and there was Moneypenny.
0:51:56 > 0:51:59And she never called him James again, because she was the boss.
0:51:59 > 0:52:02Did I see the other day that Judi Dench has been cast in that part?
0:52:02 > 0:52:06- Yes, and I feel rather betrayed, actually.- I bet you do.- Yes.
0:52:06 > 0:52:08- So, so... - Because it should have been me.
0:52:08 > 0:52:11And even if... I mean, she's a lovely actress,
0:52:11 > 0:52:13but it just should have been me.
0:52:15 > 0:52:16Across four films,
0:52:16 > 0:52:21Pierce Brosnan successfully reinvigorated the franchise.
0:52:21 > 0:52:25And turned Bond, once again, into a major box-office attraction.
0:52:30 > 0:52:34But with 2002's Die Another Day, they stretched believability
0:52:34 > 0:52:40beyond the limit. James Bond was now at the mercy of CGI,
0:52:40 > 0:52:44be it an invisible car or even kitesurfing a tsunami.
0:52:47 > 0:52:49The last seven years have gone very quickly.
0:52:49 > 0:52:52You... You know, there's a certain, obviously, maturity.
0:52:52 > 0:52:54And just as you're getting the hang of it,
0:52:54 > 0:52:57they're talking about someone else coming along. Show business.
0:52:57 > 0:53:00It's always been like this. I remember when Connery stepped down.
0:53:00 > 0:53:02It was like, "Who's going to be the next guy?"
0:53:02 > 0:53:04So, it's the big circus. And the family...
0:53:04 > 0:53:06The Broccoli family have always done it really well.
0:53:06 > 0:53:09Sure enough, two years later, with talk of his fifth Bond film,
0:53:09 > 0:53:13Brosnan learned that he would no longer be the main attraction.
0:53:13 > 0:53:16The circus was moving on, and its ringmasters were now scouting
0:53:16 > 0:53:19for a new and younger man to top the bill.
0:53:22 > 0:53:25We have decided, after the last film, to go back
0:53:25 > 0:53:31to a more realistic Bond. Sort of go back to basics.
0:53:31 > 0:53:33Go back to the classic Bond and...
0:53:33 > 0:53:36we hope that that's something the audience will appreciate.
0:53:36 > 0:53:39I think people are looking for something
0:53:39 > 0:53:40a little less frivolous today.
0:53:40 > 0:53:46The world's changed a lot. And Bond always changes with the world.
0:53:46 > 0:53:48But the world was in for a shock.
0:53:50 > 0:53:53Finally, the name's Craig, Daniel Craig.
0:53:53 > 0:53:56After months of speculation, the coveted job of being the next 007
0:53:56 > 0:53:59has been landed by the 37-year-old English actor.
0:53:59 > 0:54:02But after four decades of tall, dark and handsome -
0:54:02 > 0:54:05are we ready for the first blond Bond?
0:54:05 > 0:54:08I want to make the best film we can. The most entertaining film we can.
0:54:08 > 0:54:10And it's not a question of redefining...
0:54:10 > 0:54:13but it's a question of taking it somewhere,
0:54:13 > 0:54:15maybe where it's never gone before.
0:54:15 > 0:54:19Craig had noble intentions, but for the man with the golden hair
0:54:19 > 0:54:21the backlash would be vindictive.
0:54:23 > 0:54:26Websites were set up saying he was too ugly, too scrawny,
0:54:26 > 0:54:29too blond. But any doubts the world had,
0:54:29 > 0:54:33disappeared within minutes of Casino Royale's first major
0:54:33 > 0:54:34action set piece.
0:54:37 > 0:54:40And Jonathan Ross was on hand to talk to the principal players
0:54:40 > 0:54:42on location in the Bahamas.
0:54:42 > 0:54:45How's it working out with the crazy Frenchman? You've got this
0:54:45 > 0:54:48Frenchman who jumps off buildings for fun, I believe.
0:54:48 > 0:54:51Yeah, he's got quite a big part at the beginning of the movie.
0:54:51 > 0:54:53He's, I think, the world's best freerunner.
0:54:53 > 0:54:56So we're including him in the action sequence right at the beginning
0:54:56 > 0:55:00of the...of the movie. And it's tough, it's a very tough sequence.
0:55:00 > 0:55:03I have to climb on the platform.
0:55:03 > 0:55:08And after I climb on the girder on the top.
0:55:08 > 0:55:10And on top I have to jump to the crane, and to the crane
0:55:10 > 0:55:12I have a fight with Bond.
0:55:15 > 0:55:18You know, we're not relying on a lot of CGI for this.
0:55:18 > 0:55:20I will be doing stuff and some of it will be me,
0:55:20 > 0:55:22and some of it won't be me, for obvious reasons.
0:55:22 > 0:55:27But can I stop you? Are you going to do the freerunning? Cos I know there's that character early...
0:55:27 > 0:55:30- I've done some of it, yeah.- How's that.- Good!- Terrifying?- Nah, it's...
0:55:30 > 0:55:32You know what, I've had to knuckle down and get over
0:55:32 > 0:55:34a few things. I'm kind of approaching every day
0:55:34 > 0:55:37as it comes, really. And I get on set and I'm suddenly 200 feet
0:55:37 > 0:55:39up in the air and I go, "OK, well, you signed up."
0:55:39 > 0:55:41LAUGHTER
0:55:41 > 0:55:44As well as being truthful to the action scenes, Craig was keen
0:55:44 > 0:55:47to be faithful to the spirit of the book. And to show
0:55:47 > 0:55:51- the raw vulnerability of 007. - He's not infallible.
0:55:51 > 0:55:54I just wanted to sort of see him make a few mistakes.
0:55:54 > 0:55:56Because then, the drama of it is sort of better
0:55:56 > 0:55:59when he gets it right. I want to make the audience, sort of, go,
0:55:59 > 0:56:01"Oh, my God, it's all going to go wrong." Believe that
0:56:01 > 0:56:05it's going to go wrong, and then when it goes right it's much more exciting.
0:56:05 > 0:56:09And it's his tangled relationship with the enigmatic Vesper Lynd
0:56:09 > 0:56:12that causes Bond to bare his soul.
0:56:12 > 0:56:14My character is not like a classic Bond girl -
0:56:14 > 0:56:18she's more like a character from '40s movies, you know, quite dark.
0:56:18 > 0:56:21Very complex, many layers.
0:56:21 > 0:56:23You know, she's an equal match to Bond.
0:56:23 > 0:56:26She's, you know, very mysterious and the relationship that they
0:56:26 > 0:56:29have is very unusual. And it's a love story.
0:56:30 > 0:56:34It's like there's blood on my hands. It's not coming off.
0:56:35 > 0:56:37Let me see...
0:56:38 > 0:56:41This was a romance not seen since the days of Dalton and Lazenby.
0:56:43 > 0:56:46But for all the new intensity in Craig's interpretation of the character,
0:56:46 > 0:56:50there was still one Bond convention that was inescapable.
0:56:52 > 0:56:54- Have you said the line yet? - I have.- You have?- Mm.
0:56:54 > 0:56:57- Was it OK?- I...mmm. Yeah. - How many takes?
0:56:57 > 0:56:59We did a few, we did a few. And it wasn't much of that...
0:56:59 > 0:57:01We were outside, there was a lot of wind, erm...
0:57:01 > 0:57:04That must have been quite nice, in a way, though?
0:57:04 > 0:57:05- It was nice to get it out of the way.- Yeah.
0:57:05 > 0:57:08I was... I didn't think about it. I didn't think about it
0:57:08 > 0:57:10until the moment, and we did it and, you know.
0:57:10 > 0:57:12It's at a very key moment in the movie, as well, which is...
0:57:12 > 0:57:15It's hopefully, you know, going to hit home...
0:57:15 > 0:57:16The name's Bond...
0:57:16 > 0:57:18James Bond.
0:57:21 > 0:57:23It's meant to...
0:57:23 > 0:57:26The resounding success of Daniel Craig's 007
0:57:26 > 0:57:29and of James Bond as a British cultural icon
0:57:29 > 0:57:31was celebrated in 2012,
0:57:31 > 0:57:35as part of the London Olympics opening ceremony.
0:57:35 > 0:57:39- But, James, I need you. - So does England.
0:57:39 > 0:57:44In a sequence filmed in secret, the world's most famous spy,
0:57:44 > 0:57:49having given 50 years of dedicated service to his country...
0:57:49 > 0:57:52Oh, the things I do for England...
0:57:52 > 0:57:54..with his own brand of unbending patriotism...
0:57:54 > 0:57:58What do I do to blow up the room? Whistle God Save The Queen?
0:57:59 > 0:58:01..and loyalty to his monarch...
0:58:03 > 0:58:06I'm having it patched directly to Buckingham Palace.
0:58:06 > 0:58:09Well, I'm sure Her Majesty will be fascinated.
0:58:13 > 0:58:18..James Bond was finally granted an audience with the Queen.
0:58:18 > 0:58:19HE CLEARS THROAT
0:58:21 > 0:58:24Good evening, Mr Bond...
0:58:24 > 0:58:26MUSIC: James Bond Theme by Monty Norman