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BOND THEME | 0:00:20 | 0:00:24 | |
Bond. | 0:00:24 | 0:00:26 | |
James Bond. | 0:00:26 | 0:00:27 | |
007 has ruled the world of big-screen action heroes | 0:00:27 | 0:00:32 | |
for 50 years now. | 0:00:32 | 0:00:34 | |
To date, over a quarter of the planet's population | 0:00:36 | 0:00:40 | |
has seen him going about his spectacular day job. | 0:00:40 | 0:00:44 | |
My name is Pussy Galore. | 0:00:44 | 0:00:45 | |
I must be dreaming! | 0:00:45 | 0:00:47 | |
The man is in a league of his own | 0:00:47 | 0:00:50 | |
when it comes to watches, | 0:00:50 | 0:00:53 | |
sharks | 0:00:53 | 0:00:55 | |
and villains. | 0:00:55 | 0:00:56 | |
Look after Mr Bond. | 0:00:57 | 0:00:59 | |
See that some harm comes to him. | 0:01:00 | 0:01:03 | |
And, of course, no-one can match him when it comes to his cars... | 0:01:03 | 0:01:08 | |
..which have enthralled us for generation after generation. | 0:01:12 | 0:01:16 | |
And none more so than this one. | 0:01:25 | 0:01:29 | |
The Goldfinger Aston Martin DB5. | 0:01:35 | 0:01:38 | |
It is, without doubt, the most famous car in the world, | 0:01:45 | 0:01:49 | |
and the one that laid the foundations for the whole Bond/car relationship. | 0:01:49 | 0:01:53 | |
Which makes it the perfect place to start our celebration | 0:01:53 | 0:01:58 | |
of 50 years of Bond cars. | 0:01:58 | 0:02:00 | |
Well, nearly the perfect place. | 0:02:03 | 0:02:06 | |
Because if we're going to be thorough | 0:02:06 | 0:02:08 | |
we should start with the very first Bond adventure, | 0:02:08 | 0:02:12 | |
Dr. No. | 0:02:12 | 0:02:13 | |
Usually, when a man gets in my way... | 0:02:13 | 0:02:16 | |
With the whole film made on a very tight budget of just £350,000 | 0:02:20 | 0:02:25 | |
the fact was that Bond's debut car chase was never going to set the world on fire. | 0:02:25 | 0:02:31 | |
At the wheel of a humble Sunbeam Alpine, | 0:02:32 | 0:02:35 | |
he gets chased, briefly, by a hearse. | 0:02:35 | 0:02:39 | |
The hearse falls over a cliff... and that's your lot. | 0:02:39 | 0:02:42 | |
I think they were on their way to a funeral. | 0:02:44 | 0:02:47 | |
To give you a flavour of how hand-to-mouth things were back then, | 0:02:47 | 0:02:51 | |
I have a copy of a lovely letter written by the Bond producers | 0:02:51 | 0:02:54 | |
to the people at the Sunbeam Motor Company. | 0:02:54 | 0:02:56 | |
It's sort of complaining that they couldn't get a free car to film with | 0:02:56 | 0:03:01 | |
and had to rent one locally for - and I quote - "a considerable sum". | 0:03:01 | 0:03:05 | |
That "considerable sum" was 12 shillings a day! | 0:03:05 | 0:03:10 | |
However, on its release in 1962, | 0:03:13 | 0:03:17 | |
Dr. No was a big hit, | 0:03:17 | 0:03:19 | |
as was the next film, From Russia With Love. | 0:03:19 | 0:03:22 | |
This meant they could really push the boat out with the third film. | 0:03:22 | 0:03:27 | |
Goldfinger. | 0:03:28 | 0:03:29 | |
Do you expect me to talk? | 0:03:32 | 0:03:34 | |
No, Mr Bond. I expect you to die! | 0:03:34 | 0:03:36 | |
With evil super-baddie Auric Goldfinger | 0:03:38 | 0:03:42 | |
planning to destroy America's gold supply, | 0:03:42 | 0:03:45 | |
Bond faced his most daunting challenge yet. | 0:03:45 | 0:03:48 | |
And to help 007 win the day, | 0:03:54 | 0:03:56 | |
Q equipped him with a rather special car. | 0:03:56 | 0:04:00 | |
You'll be using this Aston Martin DB5 with modifications. | 0:04:05 | 0:04:10 | |
Windscreen, bullet-proof, | 0:04:10 | 0:04:11 | |
as are the side and rear windows. | 0:04:11 | 0:04:14 | |
Revolving number plates, naturally. | 0:04:14 | 0:04:17 | |
Valid all countries. | 0:04:17 | 0:04:18 | |
The revolving number plates, I think, was my contribution | 0:04:18 | 0:04:22 | |
because I was getting so many parking tickets at the time | 0:04:22 | 0:04:26 | |
because the office was in Mayfair | 0:04:26 | 0:04:29 | |
and there were a lot of warden ladies, you know, very vicious. | 0:04:29 | 0:04:34 | |
And I thought, "Wouldn't it be lovely, you get the ticket, she's marking away, | 0:04:34 | 0:04:38 | |
"and then you press the button and the revolving... | 0:04:38 | 0:04:42 | |
"And she's left with egg on her face!" | 0:04:42 | 0:04:44 | |
I thought, "That's a good thing!" | 0:04:44 | 0:04:45 | |
See this arm here? | 0:04:45 | 0:04:47 | |
Open the top and inside are your defence mechanism controls. | 0:04:47 | 0:04:51 | |
And somebody said, "Why not put machine guns in it?" I thought, "Nothing wrong with that." | 0:04:51 | 0:04:57 | |
And so the gadgets added and added and added. | 0:04:57 | 0:05:01 | |
Now, this one, I'm particularly keen about. | 0:05:01 | 0:05:03 | |
See the gear lever here? | 0:05:03 | 0:05:05 | |
If you take the top off, you'll find a little red button. | 0:05:05 | 0:05:09 | |
-Whatever you do, don't touch it! -Why not? | 0:05:10 | 0:05:13 | |
Because you'll release this section of the roof | 0:05:13 | 0:05:15 | |
and engage and then fire the passenger ejector seat. | 0:05:15 | 0:05:19 | |
That, I think, came from my stepson. | 0:05:19 | 0:05:22 | |
He'd seen obviously, an ejector plane seat and that had impressed him. | 0:05:22 | 0:05:28 | |
Ejector seat? You're joking! | 0:05:28 | 0:05:29 | |
I never joke about my work, 007. | 0:05:29 | 0:05:32 | |
With the car gadgets planned out, | 0:05:33 | 0:05:35 | |
all that was needed was an actual car. | 0:05:35 | 0:05:38 | |
So the Bond producers went and asked Aston Martin | 0:05:38 | 0:05:42 | |
if they could borrow one of theirs. | 0:05:42 | 0:05:43 | |
And in reply, the Aston Martin bosses said... | 0:05:43 | 0:05:49 | |
"No, absolutely not. It isn't worth the bother." | 0:05:49 | 0:05:51 | |
Harry Saltzman, the Bond producer, came back at them quite indignantly. | 0:05:51 | 0:05:55 | |
"Well, have you seen Dr. No?" | 0:05:55 | 0:05:57 | |
"Actually, no", replied the chap from Aston. | 0:05:57 | 0:05:59 | |
"What about From Russia With Love"? Again, "No. | 0:05:59 | 0:06:03 | |
"But I'll tell you what. We will sell you a car. | 0:06:03 | 0:06:05 | |
"At the full price. £4,500." | 0:06:05 | 0:06:09 | |
At this point Saltzman slammed the phone down | 0:06:09 | 0:06:13 | |
and the most famous car in cinema history | 0:06:13 | 0:06:16 | |
was on the verge of being a Jaguar. | 0:06:16 | 0:06:19 | |
A Jensen was also considered. | 0:06:25 | 0:06:27 | |
And a Chevrolet. | 0:06:27 | 0:06:29 | |
But the Bond producers kept plugging away at Aston, | 0:06:29 | 0:06:32 | |
who, in the end, still with absolutely no idea of what they were letting themselves in for, | 0:06:32 | 0:06:36 | |
begrudgingly lent them a second-hand development car. | 0:06:36 | 0:06:40 | |
And the Bond special effects chaps could go to work making their creation come to life. | 0:06:40 | 0:06:45 | |
In the end, gadgetising the car cost £25,000, | 0:06:47 | 0:06:52 | |
more than five times the price | 0:06:52 | 0:06:54 | |
of an actual DB5. | 0:06:54 | 0:06:56 | |
But boy, was it worth it! | 0:06:56 | 0:07:00 | |
First out of the box was the tyre shredder. | 0:07:02 | 0:07:05 | |
And then all the other gadgets were unleashed | 0:07:07 | 0:07:10 | |
in the legendary chase sequence against Goldfinger's evil henchmen. | 0:07:10 | 0:07:14 | |
Some of it was wonderfully low tech. | 0:07:18 | 0:07:20 | |
The smoke coming out of the back of the car, | 0:07:20 | 0:07:23 | |
that was very simple. | 0:07:23 | 0:07:25 | |
We had a very small prop man and we put him in the boot of the car. | 0:07:25 | 0:07:31 | |
There was a hole and a smoke canister and all he had to do was open the thing. | 0:07:31 | 0:07:35 | |
And the canister was leaking and there was this smoke coming. | 0:07:35 | 0:07:39 | |
The poor bugger was practically asphyxiated! | 0:07:39 | 0:07:44 | |
Aghh! | 0:07:50 | 0:07:51 | |
In the film, the setting for the car chase is in the grounds of Goldfinger's factory | 0:07:55 | 0:08:00 | |
in Switzerland. | 0:08:00 | 0:08:02 | |
But in reality, the chase was actually shot here | 0:08:05 | 0:08:09 | |
amongst the alleyways and buildings of Pinewood Studios in Buckinghamshire. | 0:08:09 | 0:08:14 | |
This is where the angry, fat Fraulein shoots at Bond. | 0:08:15 | 0:08:19 | |
And this is the location for the climax of the chase, | 0:08:21 | 0:08:24 | |
where Bond fires at what he thinks is a car coming towards him | 0:08:24 | 0:08:28 | |
and then swerves violently to avoid it. | 0:08:28 | 0:08:32 | |
Actually, it's probably a good job he crashed, | 0:08:36 | 0:08:39 | |
because at one point in the chase, the Aston's four-litre, six-cylinder engine went a bit dicky | 0:08:39 | 0:08:44 | |
and was only running on three cylinders! | 0:08:44 | 0:08:47 | |
But the misfiring engine | 0:08:48 | 0:08:49 | |
is not the memory that haunts the director. | 0:08:49 | 0:08:53 | |
You did get a great letter from a schoolboy, that I read about. | 0:08:54 | 0:08:57 | |
Addressed to the director, Goldfinger. | 0:08:57 | 0:09:00 | |
"Dear sir, | 0:09:00 | 0:09:03 | |
"when the Aston Martin leaves the UK, | 0:09:03 | 0:09:06 | |
"the wheels are Pirelli's 568s, | 0:09:06 | 0:09:09 | |
"but when it arrives at the petrol station in Switzerland, | 0:09:09 | 0:09:13 | |
they're Dunlop's 426s", or something. | 0:09:13 | 0:09:16 | |
And I didn't even bother to ask my editor to have a look and see, | 0:09:16 | 0:09:22 | |
because I knew that the little bugger was right! | 0:09:22 | 0:09:24 | |
Was the letter signed James May, by any chance? | 0:09:24 | 0:09:27 | |
He'd have been two, but I think he would have noticed! | 0:09:27 | 0:09:30 | |
So there we are. A car that nearly never happened. | 0:09:31 | 0:09:35 | |
Gadgets dreamed up by overgrown kids with too many parking tickets, | 0:09:35 | 0:09:38 | |
a man suffocating in the boot | 0:09:38 | 0:09:41 | |
and a chase, sometimes on three cylinders, sometimes not, | 0:09:41 | 0:09:44 | |
round some grubby warehouses. | 0:09:44 | 0:09:46 | |
Hardly the ingredients for a Avengers Assemble, is it? | 0:09:46 | 0:09:49 | |
But when the lights went down in the cinema in September 1964, | 0:09:49 | 0:09:54 | |
wow! | 0:09:54 | 0:09:56 | |
The public went mad for Goldfinger. | 0:09:59 | 0:10:02 | |
And they went equally crazy for the DB5, | 0:10:02 | 0:10:06 | |
which ended up going on its own world tour | 0:10:06 | 0:10:09 | |
and opening up Bond to a whole new audience. | 0:10:09 | 0:10:13 | |
The Aston changed everything. | 0:10:15 | 0:10:18 | |
And this brings us to an important question. | 0:10:18 | 0:10:22 | |
Why was it, above all others, chosen to be Bond's car? | 0:10:22 | 0:10:27 | |
Well, to find the answer, | 0:10:27 | 0:10:29 | |
a good place to start is with the Bond books. | 0:10:29 | 0:10:33 | |
This, as you may have noticed, is not an Aston Martin. | 0:10:40 | 0:10:44 | |
It's a 4.5-litre 1930s super-charged Bentley. | 0:10:44 | 0:10:48 | |
And this is the car | 0:10:48 | 0:10:51 | |
that Bond's creator Ian Fleming chose to give his secret agent in the books. | 0:10:51 | 0:10:55 | |
In Fleming's mind, | 0:10:55 | 0:10:57 | |
the Bentley was the obvious choice for Bond. | 0:10:57 | 0:11:00 | |
As a young reporter for Reuters, | 0:11:01 | 0:11:03 | |
the author had covered the 24-hour Le Mans race | 0:11:03 | 0:11:06 | |
and had seen the mighty Bentleys vanquish all the foreign johnnies. | 0:11:06 | 0:11:11 | |
Also, a Bentley was exactly the right sort of car | 0:11:11 | 0:11:14 | |
for Bond's cover as a wealthy bachelor about town. | 0:11:14 | 0:11:19 | |
Fleming was, without doubt, a proper petrol-head. | 0:11:19 | 0:11:22 | |
He writes brilliant car chases full of lovely details | 0:11:22 | 0:11:25 | |
about exhaust notes and super-chargers at full chaff. | 0:11:25 | 0:11:28 | |
In Casino Royale, the very first Bond book, | 0:11:28 | 0:11:31 | |
he writes how Bond's car was his only personal hobby. | 0:11:31 | 0:11:34 | |
And then in the book Moonraker, | 0:11:39 | 0:11:40 | |
Bond's beloved Bentley is destroyed during a frantic car chase, | 0:11:40 | 0:11:44 | |
leaving him in need of a new set of wheels. | 0:11:44 | 0:11:46 | |
And then in 1957, as Fleming is sitting down to write his new book, Goldfinger, | 0:11:46 | 0:11:52 | |
he receives a letter from a Dr G. Gibson, | 0:11:52 | 0:11:55 | |
a car enthusiast from Cambridgeshire, | 0:11:55 | 0:11:57 | |
who says he hopes Fleming will have | 0:11:57 | 0:11:59 | |
"the decency to fix Bond up with a decent bit of machinery. | 0:11:59 | 0:12:02 | |
"I would suggest an Aston Martin, a DB3." | 0:12:02 | 0:12:08 | |
And when Goldfinger is published a year later, | 0:12:09 | 0:12:12 | |
this is what we read: | 0:12:12 | 0:12:14 | |
The film-makers simply updated Fleming's DB3 to a DB5. | 0:12:24 | 0:12:28 | |
And Dr Gibson, wherever you are up there, | 0:12:28 | 0:12:31 | |
thank you, sir. | 0:12:31 | 0:12:33 | |
You have no idea what you started! | 0:12:33 | 0:12:36 | |
But now we must leave the Aston Martin | 0:12:37 | 0:12:40 | |
and move on to the next great Bond car. | 0:12:40 | 0:12:43 | |
You can't say your own films, from the past, what's your favourite Bond car? | 0:12:45 | 0:12:48 | |
-Bond car? -Yeah. | 0:12:48 | 0:12:50 | |
Um... | 0:12:50 | 0:12:51 | |
I don't know. I love that little... Is it the Datsun in Japan | 0:12:53 | 0:12:58 | |
-when the girl drives up. -Toyota 2000. | 0:12:58 | 0:13:01 | |
Is that what it is? I love that car. | 0:13:01 | 0:13:03 | |
I know I'm being a bit specific, but that's one of my favourites. | 0:13:03 | 0:13:06 | |
TYRES SCREECH | 0:13:06 | 0:13:07 | |
Get down! | 0:13:07 | 0:13:09 | |
Daniel's favourite car appears in the film You Only Live Twice | 0:13:11 | 0:13:15 | |
where Bond has to prevent World War III | 0:13:15 | 0:13:17 | |
by destroying the hollowed-out volcano belonging to his arch enemy, Ernst Stavro Blofeld | 0:13:17 | 0:13:24 | |
I shall look forward personally to exterminating you, Mr Bond. | 0:13:24 | 0:13:28 | |
Since the film was set in Japan, | 0:13:29 | 0:13:31 | |
the star car had to be Japanese. | 0:13:31 | 0:13:34 | |
And this is what was chosen. | 0:13:34 | 0:13:37 | |
The Toyota 2000 GT. | 0:13:37 | 0:13:40 | |
Daniel Craig clearly has very good taste. | 0:13:45 | 0:13:49 | |
Because even without the Bond connections, | 0:13:49 | 0:13:51 | |
this 2000 GT is a very important car. | 0:13:51 | 0:13:54 | |
Developed jointly by Yamaha and Toyota in the mid-'60s, | 0:13:57 | 0:14:01 | |
when Toyota was desperate to shake off its stodgy image, | 0:14:01 | 0:14:04 | |
this exquisite front-engined rear-drive machine | 0:14:04 | 0:14:08 | |
became known as Japan's first super car. | 0:14:08 | 0:14:12 | |
The engine is a two-litre Toyota straight six | 0:14:14 | 0:14:16 | |
that was then worked on by Yamaha. | 0:14:16 | 0:14:18 | |
Yamaha also have contributed the wood inlay on the dash, | 0:14:18 | 0:14:22 | |
the same wood they used on their pianos. | 0:14:22 | 0:14:24 | |
The whole thing is wrapped up in this beautiful light aluminium body. | 0:14:25 | 0:14:30 | |
It is... | 0:14:30 | 0:14:32 | |
..absolutely gorgeous. | 0:14:32 | 0:14:34 | |
And rare. One of these today would set you back half a million pounds. | 0:14:34 | 0:14:38 | |
Unlike the Goldfinger DB5, | 0:14:41 | 0:14:44 | |
the 2000 GT didn't have any fighting gadgets. | 0:14:44 | 0:14:47 | |
In fact, it needed a bit of help to dispense with the baddies. | 0:14:47 | 0:14:51 | |
Which Bond could watch live on the in-car TV. | 0:14:52 | 0:14:56 | |
How's that for Japanese efficiency? | 0:15:03 | 0:15:05 | |
Just a drop in the ocean! | 0:15:05 | 0:15:07 | |
Now, there's something else you need to know about this car. | 0:15:07 | 0:15:12 | |
Something that's not immediately obvious with me in it! | 0:15:12 | 0:15:16 | |
It is quite small. | 0:15:17 | 0:15:19 | |
However, Sean Connery isn't. | 0:15:19 | 0:15:22 | |
The original 2000 GT as delivered to England to be kitted out with all its gadgets and stuff | 0:15:22 | 0:15:27 | |
was a hard top, just like this one. | 0:15:27 | 0:15:29 | |
And when the Bond producers took delivery, | 0:15:29 | 0:15:33 | |
they found, with filming just about to start, | 0:15:33 | 0:15:35 | |
that Sean Connery simply wouldn't fit in it! | 0:15:35 | 0:15:39 | |
The solution, obviously, was a convertible. | 0:15:39 | 0:15:41 | |
But this was a brand new car. No convertible version existed. | 0:15:41 | 0:15:45 | |
However, we are talking about Toyota here. | 0:15:45 | 0:15:48 | |
So when the Bond people got on the phone, Toyota simply said, "Yeah, come back in two weeks", | 0:15:48 | 0:15:53 | |
and sure enough, a fortnight later, | 0:15:53 | 0:15:55 | |
the whole thing had been re-designed and rebuilt as a soft top. | 0:15:55 | 0:16:00 | |
Without question, then, the Bond films of the '60s | 0:16:02 | 0:16:06 | |
had seen 007 in some truly iconic cars. | 0:16:06 | 0:16:09 | |
But as the '70s came around, | 0:16:10 | 0:16:12 | |
the films entered a new car era. | 0:16:12 | 0:16:15 | |
The era of smash, bang and wallop. | 0:16:15 | 0:16:18 | |
In Diamonds Are Forever, Live and Let Die and The Man with the Golden Gun, | 0:16:24 | 0:16:30 | |
the car carnage was off the scale. | 0:16:30 | 0:16:33 | |
And as with Goldfinger, | 0:16:36 | 0:16:38 | |
these films were all directed by Guy Hamilton. | 0:16:38 | 0:16:42 | |
At the time, Bullitt had just come out with that very intense, terse car chase with the Mustang | 0:16:47 | 0:16:52 | |
and the Chargers. | 0:16:52 | 0:16:54 | |
Were you not tempted to go in that direction? You went the other way, really. | 0:16:54 | 0:16:58 | |
No, because I don't like a car chase. I find them boring. | 0:16:58 | 0:17:02 | |
Everybody's done car chases before. | 0:17:02 | 0:17:05 | |
What can we do that makes this one different? | 0:17:05 | 0:17:09 | |
One thing that was different | 0:17:10 | 0:17:12 | |
was to devise some nifty stunts. | 0:17:12 | 0:17:15 | |
I gotcha now! | 0:17:16 | 0:17:18 | |
Lean over! | 0:17:21 | 0:17:22 | |
Diamonds Are Forever had one of the most famous stunt moments in it | 0:17:25 | 0:17:29 | |
with the car on two wheels through the alleyway. | 0:17:29 | 0:17:31 | |
But also one of the real Hall of Fame Blooper moments | 0:17:31 | 0:17:35 | |
cos it went in on one set of wheels | 0:17:35 | 0:17:38 | |
and came out on the other! | 0:17:38 | 0:17:40 | |
It's a significant change from being that way to being that way! | 0:17:44 | 0:17:48 | |
Did the audience notice at the time? | 0:17:48 | 0:17:50 | |
I was waiting for them to all stand up and walk out of the cinema! | 0:17:50 | 0:17:55 | |
And to my amazement they were still sat there, giggling! | 0:17:55 | 0:18:00 | |
The blooper came about because Guy filmed the car coming out of the alleyway first | 0:18:01 | 0:18:06 | |
and then suddenly had to fly back to England. | 0:18:06 | 0:18:09 | |
So he left the producer Cubby Broccoli in charge of filming the car | 0:18:09 | 0:18:14 | |
going into the alley. | 0:18:14 | 0:18:15 | |
And three weeks later, Cubby comes along and says | 0:18:15 | 0:18:20 | |
here are the rushes, we've got your goddamn wheelie shot. | 0:18:20 | 0:18:23 | |
Well, I went to rushes | 0:18:23 | 0:18:25 | |
and it's wheelie side up, | 0:18:25 | 0:18:28 | |
and the shot I'd got of it coming out the other end it's wheelie side down! | 0:18:28 | 0:18:33 | |
So he says, "What do you think, Guy?" I said, "They have to do it again. | 0:18:33 | 0:18:38 | |
-He said no -BLEEP -way! | 0:18:38 | 0:18:40 | |
After Diamonds Are Forever, | 0:18:43 | 0:18:45 | |
Connery handed over the baton to Roger Moore, | 0:18:45 | 0:18:48 | |
who gave us a more light-hearted Bond. | 0:18:48 | 0:18:51 | |
Mm, such a delicate touch! | 0:18:53 | 0:18:57 | |
Sheer magnetism, darling. | 0:18:57 | 0:18:59 | |
My attitude was that Bond is not real. | 0:18:59 | 0:19:02 | |
He's not a spy. | 0:19:02 | 0:19:05 | |
He walks into every bar in the world and the barman knows him. | 0:19:05 | 0:19:08 | |
"Ah, Martini shaken, not stirred." | 0:19:08 | 0:19:10 | |
On the first wrong answer from Miss Solitaire, | 0:19:10 | 0:19:15 | |
you will snip the little finger on Mr Bond's right hand. | 0:19:15 | 0:19:18 | |
In Roger's first film, Live and Let Die, | 0:19:19 | 0:19:22 | |
where he battled voodoo and evil heroin dealers... | 0:19:22 | 0:19:25 | |
..he was given a rather unconventional car chase. | 0:19:28 | 0:19:31 | |
We're in Jamaica and what I did notice was that they've got double-decker buses. | 0:19:32 | 0:19:38 | |
And I thought, "Bond in a bus. We can have some fun with a bus!" | 0:19:38 | 0:19:44 | |
Before we went out there, they took me down to the skid pad | 0:19:45 | 0:19:49 | |
near Hammersmith | 0:19:49 | 0:19:51 | |
to be able to spin. | 0:19:51 | 0:19:52 | |
At first you think, "Oh, no, it's going to tip." | 0:19:52 | 0:19:57 | |
But they don't tip. | 0:19:57 | 0:19:58 | |
Despite Roger's training, | 0:20:02 | 0:20:04 | |
an expert was needed at the wheel for the stunt sequences. | 0:20:04 | 0:20:07 | |
And instead of using a normal stunt driver, | 0:20:09 | 0:20:12 | |
the Bond people drafted in an actual London bus driver, | 0:20:12 | 0:20:15 | |
Maurice Pratchett. | 0:20:15 | 0:20:18 | |
Maurice, yes. He was a lovely fellow who got to drive under the bridge. | 0:20:19 | 0:20:24 | |
You don't think I was going to go driving under a bridge? | 0:20:26 | 0:20:30 | |
I hope he got paid stunt money. | 0:20:31 | 0:20:33 | |
All change! End of the line. | 0:20:43 | 0:20:45 | |
In the next film, The Man with the Golden Gun, | 0:20:47 | 0:20:50 | |
Bond takes on the deadly triple-nippled assassin, Scaramanga. | 0:20:50 | 0:20:54 | |
Ready! | 0:20:56 | 0:20:57 | |
SINISTER LAUGH | 0:20:59 | 0:21:01 | |
This was Bond's car. | 0:21:06 | 0:21:09 | |
The AMC Hornet. | 0:21:09 | 0:21:11 | |
Which, in one of cinema's eggiest-ever product placement moments, | 0:21:12 | 0:21:16 | |
Bond commandeers from an AMC showroom in Bangkok. | 0:21:16 | 0:21:20 | |
-Can I have my demonstration? -Certainly. | 0:21:20 | 0:21:22 | |
And then uses it to give chase to Scaramanga | 0:21:24 | 0:21:26 | |
who is, completely coincidentally, driving another AMC car. | 0:21:26 | 0:21:30 | |
Where the hell have they got to? | 0:21:43 | 0:21:46 | |
Scaramanga was on the opposite riverbank | 0:21:48 | 0:21:50 | |
and making a clean getaway. | 0:21:50 | 0:21:52 | |
You goofed, boy. | 0:21:53 | 0:21:55 | |
Now, up until this moment, | 0:21:55 | 0:21:57 | |
the little Hornet's only claim to fame was that it was available with denim seat covers! | 0:21:57 | 0:22:02 | |
All that was about to change! | 0:22:04 | 0:22:07 | |
-You're not thinking that... -I sure am, boy! | 0:22:07 | 0:22:11 | |
Ever heard of Evel Knievel? | 0:22:12 | 0:22:14 | |
Not only was the astro spiral jump the most spectacular Bond stunt yet, | 0:22:22 | 0:22:28 | |
it was also the first car stunt to be worked out using computers. | 0:22:28 | 0:22:33 | |
However, it still needed a human being in the hot seat. | 0:22:33 | 0:22:38 | |
The car that they drove, the steering wheel was in the centre. | 0:22:39 | 0:22:44 | |
It had to be very carefully balanced. | 0:22:44 | 0:22:47 | |
It also needed a huge run up. | 0:22:47 | 0:22:50 | |
They did it at 49 miles an hour or something, | 0:22:50 | 0:22:55 | |
and it had to be really spot on. | 0:22:55 | 0:22:58 | |
We had divers, we had ambulances, | 0:22:58 | 0:23:01 | |
we had air ambulances. | 0:23:01 | 0:23:03 | |
You know, because this was not tested, if you follow my meaning. | 0:23:03 | 0:23:09 | |
But, on the day, | 0:23:09 | 0:23:11 | |
the driver had to dash back to America for family reasons | 0:23:11 | 0:23:16 | |
and the mechanic said, "All right, I'll do it." | 0:23:16 | 0:23:19 | |
And this very brave fellow who'd never done it before | 0:23:20 | 0:23:25 | |
just came down and that was it. | 0:23:25 | 0:23:29 | |
-And it was one take. -One take. | 0:23:29 | 0:23:31 | |
And Cubby, ever generous, | 0:23:31 | 0:23:33 | |
went up to him with a roll of 100 bills. | 0:23:33 | 0:23:37 | |
And he said, "There." | 0:23:37 | 0:23:39 | |
And the guy said, "Can I do it again?" | 0:23:39 | 0:23:42 | |
The car thrills weren't over, though. | 0:23:44 | 0:23:47 | |
Because after Bond's spiral jump, Scaramanga makes his escape | 0:23:47 | 0:23:51 | |
in dramatic fashion. | 0:23:51 | 0:23:54 | |
This is the car you see in the air in the film. | 0:24:06 | 0:24:10 | |
The Bond producers, ever proud of their record of doing things for real, | 0:24:10 | 0:24:15 | |
had wanted to use an actual flying car, an AVE Mizar, | 0:24:15 | 0:24:19 | |
which was a Cessna light aircraft mated to a Ford Pinto. | 0:24:19 | 0:24:23 | |
But shortly before filming began, | 0:24:23 | 0:24:26 | |
the inventors of the AVE were in a routine flight in their creation | 0:24:26 | 0:24:29 | |
when the plane bit sort of came away | 0:24:29 | 0:24:32 | |
and the two chaps found themselves flying at quite a height | 0:24:32 | 0:24:35 | |
in a second-hand Ford Pinto. | 0:24:35 | 0:24:37 | |
Sadly, both of them were killed | 0:24:37 | 0:24:40 | |
and the Bond people retreated to the safety of a model flying car. | 0:24:40 | 0:24:43 | |
So far, then, the films of the '70s | 0:24:45 | 0:24:48 | |
had given us some excellent car stunts | 0:24:48 | 0:24:50 | |
but what they hadn't given us was a car to match the Goldfinger DB5. | 0:24:50 | 0:24:56 | |
A car that was a star in its own right. | 0:24:56 | 0:24:59 | |
However, in the next film, The Spy Who Loved Me, | 0:25:01 | 0:25:06 | |
all that was about to change. | 0:25:06 | 0:25:09 | |
Observe, Mr Bond, | 0:25:09 | 0:25:11 | |
the instruments of Armageddon. | 0:25:11 | 0:25:13 | |
This time, Bond is up against the web-fingered baddy, Stromberg, | 0:25:14 | 0:25:19 | |
who has the modest ambition of blowing up the world, | 0:25:19 | 0:25:23 | |
and then starting a new civilisation under the sea. | 0:25:23 | 0:25:27 | |
Stopping him is a formidable challenge, and to help him, | 0:25:29 | 0:25:32 | |
Bond is issued with a new car. | 0:25:32 | 0:25:35 | |
A Lotus Esprit. | 0:25:35 | 0:25:37 | |
Now, the baddy's lair was in Sardinia. | 0:25:45 | 0:25:48 | |
And when Q arrived there to give Bond his new Lotus, | 0:25:48 | 0:25:53 | |
007 drove off before Q could give him the usual briefing | 0:25:53 | 0:25:57 | |
on how all the gadgets worked. | 0:25:57 | 0:25:59 | |
-One or two rather special accessories... -Q, have I ever let you down? | 0:25:59 | 0:26:03 | |
Frequently! | 0:26:03 | 0:26:04 | |
That was done deliberately, because when the car unveiled its party piece, | 0:26:09 | 0:26:13 | |
the Bond makers wanted the cinema-goers to experience | 0:26:13 | 0:26:17 | |
a moment they would never forget. | 0:26:17 | 0:26:20 | |
MACHINE GUN FIRE | 0:26:20 | 0:26:22 | |
Can you swim? | 0:26:26 | 0:26:28 | |
Unquestionably, your biggest Bond car moment, | 0:26:40 | 0:26:43 | |
when it turns into a submarine. | 0:26:43 | 0:26:45 | |
Do you remember the response at the time, how people received that moment? | 0:26:45 | 0:26:48 | |
-It was a... -GASPS | 0:26:48 | 0:26:50 | |
That got applause from behind the Iron Curtain, I'm sure. | 0:26:52 | 0:26:57 | |
And that was just the start of it, | 0:26:57 | 0:26:59 | |
because Q had stuffed the Lotus full of weaponry. | 0:26:59 | 0:27:02 | |
And then when it came out of the water, | 0:27:09 | 0:27:12 | |
lowered the window and dropped a fish out, | 0:27:12 | 0:27:16 | |
and Cubby said, "How did the fish get in there?" | 0:27:16 | 0:27:21 | |
We said, "Let's not worry about how it got there!" | 0:27:21 | 0:27:26 | |
The Lotus was unquestionably | 0:27:27 | 0:27:30 | |
the first car since the DB5 that could match 007 for screen presence. | 0:27:30 | 0:27:36 | |
And the story about how the Esprit actually got into the film | 0:27:36 | 0:27:39 | |
is a tale worthy of Ian Fleming himself. | 0:27:39 | 0:27:42 | |
The man we have to thank is a chap called Don McCloughlin. | 0:27:43 | 0:27:47 | |
In the 1970s, he was the PR boss at Lotus. | 0:27:47 | 0:27:51 | |
And when he heard from friends at Pinewood that the Bond people wanted a new car for their next film, | 0:27:51 | 0:27:57 | |
he, naturally enough, wanted it to be a Lotus. | 0:27:57 | 0:28:01 | |
The problem was, though, that with the films now the most successful franchise in the world, | 0:28:03 | 0:28:08 | |
everyone was fighting to get their products into a Bond movie. | 0:28:08 | 0:28:12 | |
Don decided the only way to hook the Bond people was, instead of going begging to them, | 0:28:13 | 0:28:18 | |
get them to come to him. | 0:28:18 | 0:28:21 | |
And so one day he turned up at Pinewood in a prototype Esprit. | 0:28:21 | 0:28:25 | |
The car hadn't even gone on sale yet. | 0:28:25 | 0:28:27 | |
And he deliberately taped over every part of the car - the speedo, the steering wheel, the gear knob - | 0:28:27 | 0:28:32 | |
that said the word Lotus. | 0:28:32 | 0:28:34 | |
He then parked the car outside the Bond offices | 0:28:35 | 0:28:38 | |
and went off to see a friend across the way. | 0:28:38 | 0:28:41 | |
Sure enough, when the Bond big-wigs came outside at lunch time, | 0:28:42 | 0:28:46 | |
they saw his amazing-looking car | 0:28:46 | 0:28:48 | |
and immediately crowded round. But they couldn't tell what it was. | 0:28:48 | 0:28:53 | |
And then Don came outside, | 0:28:53 | 0:28:55 | |
pushed his way through the crowd, | 0:28:55 | 0:28:57 | |
and deliberately avoiding answering any of their questions, | 0:28:57 | 0:29:00 | |
simply got in the car and drove off. | 0:29:00 | 0:29:03 | |
He gambled that this tactic would make the Bond people desperate to find out what the car was | 0:29:03 | 0:29:09 | |
and come after it. | 0:29:09 | 0:29:10 | |
It took a pair of 007-sized cojones, | 0:29:10 | 0:29:13 | |
but it worked. | 0:29:13 | 0:29:15 | |
Besides Don, there's also another unsung hero in the Lotus story. | 0:29:17 | 0:29:23 | |
When the Bond crew started filming the chase sequence in Sardinia, | 0:29:25 | 0:29:29 | |
the stunt driver was struggling to make the Lotus look exciting on camera | 0:29:29 | 0:29:33 | |
because it was so grippy. | 0:29:33 | 0:29:35 | |
Watching this problem unfold | 0:29:36 | 0:29:38 | |
was Lotus employee Roger Becker, who delivered the Esprit to the set. | 0:29:38 | 0:29:44 | |
To make it slide, you've got to be going very quick | 0:29:44 | 0:29:49 | |
and taking the car up to and beyond its limit on a corner. | 0:29:49 | 0:29:53 | |
And that was something that the stunt driver, he somehow couldn't quite handle. | 0:29:53 | 0:29:58 | |
And I guess the real turning point was what was a very simple shot, | 0:29:58 | 0:30:03 | |
two or 300 yards up the road was a right-hand corner | 0:30:03 | 0:30:06 | |
and then driving up the hill into the next chase scenes. | 0:30:06 | 0:30:10 | |
And mysteriously, the stunt driver had disappeared. | 0:30:10 | 0:30:13 | |
So the camera crew who were parked up on top of a hill | 0:30:13 | 0:30:16 | |
said, "Well, bring the car up anyhow." | 0:30:16 | 0:30:19 | |
So I jumped in the car, absolutely flailed it up the road, | 0:30:19 | 0:30:22 | |
slid it round this corner, up the hill, onto this dirt area where they were parked, | 0:30:22 | 0:30:28 | |
all sideways, and when the dust settled, | 0:30:28 | 0:30:31 | |
there's the first director and assistant director standing there | 0:30:31 | 0:30:34 | |
and they said, "Would you mind going and doing that again, | 0:30:34 | 0:30:38 | |
"and this time, we'll have the cameras rolling!" | 0:30:38 | 0:30:41 | |
From that moment on, Roger was deputised as James Bond's stunt driver. | 0:30:42 | 0:30:47 | |
The most hair-raising part was the helicopter chase | 0:30:52 | 0:30:57 | |
because it was close. | 0:30:57 | 0:30:58 | |
And I guess the most exciting part of all | 0:30:58 | 0:31:03 | |
was the pass underneath the helicopter. | 0:31:03 | 0:31:05 | |
I come round a left-hand corner with explosions going on all around me | 0:31:05 | 0:31:09 | |
and then you look up and there's this helicopter pointing at you | 0:31:09 | 0:31:13 | |
at a height off the ground | 0:31:13 | 0:31:16 | |
that I was absolutely convinced was not enough. | 0:31:16 | 0:31:19 | |
And you've got to drive straight at it at 70, 80 miles an hour. | 0:31:19 | 0:31:23 | |
There's only one thing you can do. Put your foot down as hard as you can and close your eyes! | 0:31:23 | 0:31:28 | |
But, as exciting as the chopper chase was, | 0:31:29 | 0:31:32 | |
it's the submarine sequence that raises the most interesting question. | 0:31:32 | 0:31:36 | |
Namely what, in Bond's fantasy car world, | 0:31:36 | 0:31:40 | |
is actually possible in the real world? | 0:31:40 | 0:31:43 | |
You see, when the Bond people came up with that amazing underwater Lotus sequence, | 0:31:44 | 0:31:48 | |
for all their incredible skills, | 0:31:48 | 0:31:50 | |
they were never able to make a real, working submarine car. | 0:31:50 | 0:31:55 | |
So some of it was made using the shell of an Esprit with two divers inside it, | 0:31:55 | 0:31:59 | |
and the other bits were filmed using these models. | 0:31:59 | 0:32:02 | |
The bubbles coming out of the back were actually Alka Seltzer tablets dissolving! | 0:32:02 | 0:32:07 | |
Well, let's see if today we can get by without the indigestion tablets. | 0:32:11 | 0:32:16 | |
Because I can't think of a better 50th birthday present | 0:32:17 | 0:32:21 | |
than for us to make that Holy Grail of Bond cars a living, breathing reality. | 0:32:21 | 0:32:27 | |
And with this magnificent machine, | 0:32:29 | 0:32:31 | |
we may well have done just that. | 0:32:31 | 0:32:34 | |
Now, the more alert viewers will already have noticed | 0:32:34 | 0:32:38 | |
that this is not, in fact, a Lotus Esprit, | 0:32:38 | 0:32:41 | |
but a Lotus Excel. | 0:32:41 | 0:32:44 | |
That's because our Bond submarine car has been lovingly hand-crafted on a budget! | 0:32:44 | 0:32:49 | |
And an Excel is really way cheaper. | 0:32:49 | 0:32:53 | |
And likewise for budgetary reasons, | 0:32:59 | 0:33:01 | |
the location for our maiden voyage is not Sardinia, | 0:33:01 | 0:33:05 | |
but a reservoir neat Matlock. | 0:33:05 | 0:33:07 | |
Before I head out into that warm, sapphire-blue water, | 0:33:14 | 0:33:18 | |
let me talk you through the features of the world's first working - hopefully - submarine car. | 0:33:18 | 0:33:24 | |
First, the windscreen, which would cave in under pressure from the water. | 0:33:24 | 0:33:27 | |
That's been replaced with a special plastic used in aircraft windows | 0:33:27 | 0:33:31 | |
and for the visors of astronauts' space helmets. | 0:33:31 | 0:33:35 | |
Then, despite the fact that Lotuses are legendary for never leaking, | 0:33:35 | 0:33:39 | |
we have taken the precaution of fitting it with a glass fibre inner skin. | 0:33:39 | 0:33:43 | |
Yes, that has compromised the practicality a little, | 0:33:43 | 0:33:46 | |
but we thought it worthwhile. | 0:33:46 | 0:33:48 | |
Then propulsion. These thrusters underwater will be driven by electric motors. | 0:33:48 | 0:33:53 | |
WHIRRING | 0:33:53 | 0:33:55 | |
And finally, ballast. | 0:33:55 | 0:33:57 | |
To compensate for the amount of air inside the car, | 0:33:57 | 0:34:00 | |
we will have to add a lot of weight to make it sink. | 0:34:00 | 0:34:02 | |
And after much scientific thought and calculation, | 0:34:02 | 0:34:06 | |
we've come up with a neat and clever solution. | 0:34:06 | 0:34:08 | |
Filling the tyres with concrete. | 0:34:09 | 0:34:12 | |
There is much more to talk about, | 0:34:12 | 0:34:14 | |
but let's get underway and do that on the move. | 0:34:14 | 0:34:16 | |
But since the launch preparations take a little time, | 0:34:18 | 0:34:22 | |
let us return now to Sir Roger Moore. | 0:34:22 | 0:34:25 | |
So I absolutely have to ask, do you have a favourite? | 0:34:25 | 0:34:28 | |
-Of all the cars? -All the Bond cars. | 0:34:28 | 0:34:31 | |
The little two-stroke whatever it was. | 0:34:33 | 0:34:36 | |
-The Citroen 2CV? -Yeah. -Really?! Why? | 0:34:36 | 0:34:40 | |
Because it didn't matter if you hit it. | 0:34:40 | 0:34:42 | |
Roger's beloved 2CV stars in For Your Eyes Only, | 0:34:47 | 0:34:51 | |
-when a Keystone Cops-style chase... -Hold tight! | 0:34:51 | 0:34:54 | |
..called for something cheap and tough that could go off-road and out-fox the big boys. | 0:34:54 | 0:35:00 | |
And actually, maybe Roger's choice isn't such a bad one. | 0:35:06 | 0:35:11 | |
Especially if you've always fancied owning a Bond car on a budget! | 0:35:12 | 0:35:16 | |
It is a bit of a come-down! | 0:35:18 | 0:35:19 | |
Nevertheless the 2CV is a bona fide Bond car. | 0:35:19 | 0:35:23 | |
A good one will set you back about £6,000 | 0:35:23 | 0:35:27 | |
plus all of your dignity. | 0:35:27 | 0:35:29 | |
So I don't know, you might want to give this one a miss. | 0:35:29 | 0:35:32 | |
Another option is the Renault 11 from A View to a Kill, | 0:35:33 | 0:35:37 | |
since a good one costs around £2,000. | 0:35:37 | 0:35:40 | |
However, if you're going to be picky, you really should have it with the Bond modifications... | 0:35:41 | 0:35:47 | |
..which do take away some of the 11's famed practicality! | 0:35:49 | 0:35:53 | |
No. If Top Gear were to recommend a Bond car on a budget, | 0:35:55 | 0:35:59 | |
then it could only be one of these. | 0:35:59 | 0:36:02 | |
The Alfa Romeo GTV. | 0:36:06 | 0:36:08 | |
The GTV appears in Octopussy, when Bond has to rush to an air base | 0:36:10 | 0:36:14 | |
to warn everyone of an atomic bomb about to go off | 0:36:14 | 0:36:17 | |
and he nicks one of these to do so. | 0:36:17 | 0:36:19 | |
SPEAKS GERMAN | 0:36:19 | 0:36:21 | |
Now, younger viewers might be thinking, "Why didn't he just borrow somebody's mobile phone?" | 0:36:26 | 0:36:30 | |
But this was 1983, | 0:36:30 | 0:36:33 | |
so the car would have been a lot smaller and easier to steal | 0:36:33 | 0:36:36 | |
than a mobile phone of the day! | 0:36:36 | 0:36:38 | |
There are no fancy car stunts in the GTV sequence. | 0:36:39 | 0:36:43 | |
But the Alfa does, as you'd expect, give some cracking driving moments. | 0:36:43 | 0:36:48 | |
The sort of thing the purist Ian Fleming would have approved of. | 0:36:48 | 0:36:52 | |
I can't understand why there wasn't more Alfa action in Bond's life. | 0:36:58 | 0:37:03 | |
Well, I can. | 0:37:03 | 0:37:05 | |
He'd forever be arriving at the baddy's hollowed-out volcano on the back of a tow truck! | 0:37:05 | 0:37:09 | |
But, even so... | 0:37:09 | 0:37:10 | |
Today, a good one of these will set you back about £8,000. | 0:37:11 | 0:37:15 | |
Plus a million or so in maintenance. | 0:37:15 | 0:37:18 | |
But it is the Bond car to have. | 0:37:18 | 0:37:21 | |
It's all so boring here, Margot. | 0:37:26 | 0:37:28 | |
There's nothing but playboys and tennis pro's. | 0:37:28 | 0:37:31 | |
If only I could find a real man. | 0:37:31 | 0:37:34 | |
In 1987, Roger Moore was replaced by Timothy Dalton. | 0:37:35 | 0:37:40 | |
I need to use your phone. | 0:37:40 | 0:37:41 | |
She'll call you back. | 0:37:41 | 0:37:44 | |
Keen to take 007 back to his tough, no-nonsense roots, | 0:37:45 | 0:37:50 | |
the producers introduced the new Bond with a tough, no-nonsense car sequence. | 0:37:50 | 0:37:54 | |
And most important of all, reunited him with an old friend. | 0:37:57 | 0:38:02 | |
"Dear Mr Broccoli, I thoroughly enjoyed meeting you and Michael Wilson on Friday | 0:38:03 | 0:38:08 | |
"and write to confirm my understanding of the agreement between us | 0:38:08 | 0:38:12 | |
"relating to the arrangements for motor cars | 0:38:12 | 0:38:14 | |
"in the forthcoming Bond film." | 0:38:14 | 0:38:16 | |
Blah, blah, blah, blah. | 0:38:16 | 0:38:18 | |
Blah. | 0:38:18 | 0:38:19 | |
"Yours, very sincerely, | 0:38:19 | 0:38:21 | |
"Victor Gauntlet, Chairman, | 0:38:21 | 0:38:24 | |
"Aston Martin." | 0:38:24 | 0:38:26 | |
Bond's new Aston Martin, a V8 Volante, | 0:38:30 | 0:38:35 | |
was an update of his old DB5. | 0:38:35 | 0:38:37 | |
And likewise, his gadgets were a re-boot of the ones seen in Goldfinger. | 0:38:37 | 0:38:42 | |
Instead of a mechanical tyre shredder, | 0:38:43 | 0:38:46 | |
the job was now done by a laser beam. | 0:38:46 | 0:38:49 | |
What happened? | 0:38:52 | 0:38:53 | |
Salt corrosion. | 0:38:53 | 0:38:55 | |
And instead of machine guns, there were now guided missiles. | 0:38:55 | 0:38:59 | |
Sadly, there was no ejector seat. | 0:39:05 | 0:39:07 | |
Time to leave. | 0:39:07 | 0:39:09 | |
But Q made up for that with the car's winter pack! | 0:39:13 | 0:39:16 | |
Brace yourself. | 0:39:22 | 0:39:24 | |
The Aston would end up meeting a fiery death. | 0:39:32 | 0:39:35 | |
But by evoking the spirit of the Goldfinger DB5, | 0:39:35 | 0:39:39 | |
it had helped make audiences comfortable with the new Bond. | 0:39:39 | 0:39:43 | |
Which was a bit of a shame, | 0:39:47 | 0:39:49 | |
because despite some sterling vehicular work, | 0:39:49 | 0:39:53 | |
Dalton was replaced after just two films... | 0:39:53 | 0:39:57 | |
..by Pierce Brosnan. | 0:39:59 | 0:40:01 | |
Vodka Martini. Shaken, not stirred. | 0:40:12 | 0:40:16 | |
This was the mid-'90s. | 0:40:17 | 0:40:19 | |
Bond had been around for 16 movies | 0:40:19 | 0:40:22 | |
and was facing tougher competition than ever | 0:40:22 | 0:40:25 | |
from films like Die Hard and True Lies. | 0:40:25 | 0:40:27 | |
The Bond people responded by filling the Brosnan films | 0:40:30 | 0:40:33 | |
with spectacular action sequences | 0:40:33 | 0:40:36 | |
that were the equal of anything else on the cinema screen. | 0:40:36 | 0:40:40 | |
Q's not gonna like this! | 0:40:43 | 0:40:45 | |
In fact, | 0:40:45 | 0:40:47 | |
there was only one area that let the side down. | 0:40:47 | 0:40:50 | |
The cars. | 0:40:51 | 0:40:53 | |
007 was taken out of his Aston Martin | 0:40:53 | 0:40:56 | |
and put for the first time in a BMW. | 0:40:56 | 0:41:00 | |
And now we come to the low point of Bond motoring. | 0:41:01 | 0:41:06 | |
In GoldenEye, he was given this hairdresser's Z3. | 0:41:09 | 0:41:12 | |
On screen for two minutes and did nothing. | 0:41:12 | 0:41:15 | |
In The World Is Not Enough, | 0:41:15 | 0:41:17 | |
he had this Z8, which drives about 50 feet, fires a rocket, | 0:41:17 | 0:41:22 | |
then gets cut in half. | 0:41:22 | 0:41:24 | |
They were just a bit pointless. | 0:41:24 | 0:41:27 | |
And then, when they did put him in an Aston, | 0:41:28 | 0:41:31 | |
it was terrible! | 0:41:31 | 0:41:33 | |
Here we can clearly see a chase featuring a Ferrari 355, | 0:41:36 | 0:41:40 | |
one of the best handling modern Ferraris ever, | 0:41:40 | 0:41:44 | |
and Bond in an Aston Martin that's 30 years older, | 0:41:44 | 0:41:47 | |
somehow keeping up. | 0:41:47 | 0:41:49 | |
I don't think so. | 0:41:49 | 0:41:51 | |
Admittedly, in Tomorrow Never Dies, | 0:41:52 | 0:41:55 | |
the car action does perk up. | 0:41:55 | 0:41:58 | |
Your new BMW 750. | 0:42:00 | 0:42:03 | |
All the usual refinements. Machine guns, | 0:42:03 | 0:42:06 | |
rockets, the GPS tracking system. | 0:42:06 | 0:42:09 | |
Capable of being driven by Bond via his mobile phone, | 0:42:12 | 0:42:15 | |
the 7 series unleashes its many gizmos during an explosive chase in a car park. | 0:42:15 | 0:42:21 | |
But the fact remains we were still watching the world's most dashing secret agent | 0:42:24 | 0:42:29 | |
driving around in a sales manager's company car. | 0:42:29 | 0:42:33 | |
Eventually, in Brosnan's final film, Die Another Day, | 0:42:35 | 0:42:39 | |
order was restored. | 0:42:39 | 0:42:42 | |
Reunited with his rightful mark, | 0:42:50 | 0:42:52 | |
this time in a Vanquish, | 0:42:52 | 0:42:55 | |
Bond puts the Aston to good use in a spectacular car chase on a frozen lake in Iceland. | 0:42:55 | 0:43:01 | |
When we decided there was going to be a car chase on ice, | 0:43:03 | 0:43:07 | |
my heart sank cos I thought, "I have to come up with something exciting on the lake. | 0:43:07 | 0:43:11 | |
"You won't have a street full of shoppers, | 0:43:11 | 0:43:13 | |
"or sidewalk cafes that cars that can go through." | 0:43:13 | 0:43:18 | |
So I thought, "If we send both protagonists out equally matched, | 0:43:18 | 0:43:23 | |
"then it's like a really good sword-fencing competition | 0:43:23 | 0:43:27 | |
"where each one foils the other every time." | 0:43:27 | 0:43:30 | |
So they both had rockets, and each rocket cancels each other out. | 0:43:30 | 0:43:33 | |
And then we had machine guns and mortars vying for each other. | 0:43:33 | 0:43:37 | |
So it was really just a competition between two very talented people. | 0:43:37 | 0:43:40 | |
And that was the theme. | 0:43:42 | 0:43:43 | |
And day-to-day, the ice had to be, what was it, ten inches thick? | 0:43:51 | 0:43:55 | |
Ten inches thick on the ice. Couldn't have more than four people standing together. | 0:43:55 | 0:43:59 | |
Just the weight on the ice. | 0:43:59 | 0:44:01 | |
Because it's scary enough anyway. The ice is like a trampoline. The cars gave a trampoline effect. | 0:44:01 | 0:44:07 | |
And as it happens, during the chase, | 0:44:07 | 0:44:09 | |
we had a little argument with an iceberg! | 0:44:09 | 0:44:11 | |
We came off pretty much the same way without actually sinking, but the same way the Titanic did. | 0:44:15 | 0:44:19 | |
It destroyed us! | 0:44:19 | 0:44:21 | |
Although Q had loaded the Aston with high-tech weapons, | 0:44:21 | 0:44:26 | |
they weren't its most amazing feature. | 0:44:26 | 0:44:29 | |
Aston Martin call it the Vanquish. We call it the Vanish. | 0:44:30 | 0:44:35 | |
Oh. Very good. | 0:44:38 | 0:44:40 | |
Now, some critics complained that the invisibility cloak was a gadget too far, | 0:44:43 | 0:44:48 | |
that it was taking Bond into science fiction. | 0:44:48 | 0:44:52 | |
But the fact is, the Bond people hadn't lost the plot | 0:44:58 | 0:45:02 | |
as we shall now demonstrate, | 0:45:02 | 0:45:04 | |
with a bit of Top Gear engineering. | 0:45:04 | 0:45:07 | |
Just like the Aston Martin, | 0:45:08 | 0:45:10 | |
we, too, have based our creation on a classic British name. | 0:45:10 | 0:45:14 | |
It's a Ford Transit. Because one, well, it is cheaper, | 0:45:14 | 0:45:18 | |
two, its slab sides are the perfect place | 0:45:18 | 0:45:21 | |
for us to fit these flat-screen TVs. | 0:45:21 | 0:45:23 | |
Here's how it works. This is the clever science bit. | 0:45:24 | 0:45:27 | |
Cameras dotted on each side will be filming everything around the car/van | 0:45:27 | 0:45:34 | |
as it goes along, live, and relaying those images to the screens. | 0:45:34 | 0:45:39 | |
Thus making the car/van blend into the background | 0:45:39 | 0:45:42 | |
and rendering it invisible. | 0:45:42 | 0:45:45 | |
In order to prove that the technology works, | 0:45:48 | 0:45:51 | |
I shall now demonstrate it with a drive through town. | 0:45:51 | 0:45:55 | |
OK, so here we are in town. | 0:45:58 | 0:46:01 | |
There are plenty of people about. | 0:46:01 | 0:46:04 | |
Right now, all they can see is a van | 0:46:04 | 0:46:06 | |
that looks like it's been covered in glue and driven through Currys. | 0:46:06 | 0:46:09 | |
But, if I turn this switch here, | 0:46:09 | 0:46:12 | |
everything changes. | 0:46:12 | 0:46:14 | |
Invisibility cloak... | 0:46:14 | 0:46:16 | |
..descend! | 0:46:17 | 0:46:19 | |
Unfortunately, because of the power needed to operate the plasmas, | 0:46:26 | 0:46:30 | |
there has to be a chap in the back operating quite a sizeable generator. | 0:46:30 | 0:46:35 | |
Nevertheless, I have simply vanished! | 0:46:36 | 0:46:41 | |
Yep, totally transparent. | 0:46:42 | 0:46:44 | |
I am a phantom, | 0:46:45 | 0:46:48 | |
a spectre, | 0:46:48 | 0:46:49 | |
drifting through town, as invisible as the wind. | 0:46:49 | 0:46:52 | |
They're not shouting at me. They don't know I'm here. | 0:46:54 | 0:46:57 | |
They're just having a laugh cos one of them said a funny joke or something, I guess. | 0:46:58 | 0:47:02 | |
The feeling of anonymity, of invisibility, | 0:47:02 | 0:47:08 | |
is absolutely, oh... | 0:47:08 | 0:47:10 | |
Now, that's... She only pulled out on me because she couldn't see me. | 0:47:10 | 0:47:14 | |
These are people having lunch. | 0:47:14 | 0:47:17 | |
They have no idea. | 0:47:17 | 0:47:19 | |
I could drive right up and listen in to their conversation | 0:47:19 | 0:47:22 | |
as a spy might, and they wouldn't know. | 0:47:22 | 0:47:24 | |
My one worry is how we would deal with insurance claims | 0:47:27 | 0:47:31 | |
because obviously nobody would have seen me | 0:47:31 | 0:47:34 | |
to know that it was me that crashed into them because I am invisible. | 0:47:35 | 0:47:41 | |
Yep, totally transparent. | 0:47:43 | 0:47:45 | |
So there we are. | 0:47:47 | 0:47:48 | |
Proof that an invisible car | 0:47:48 | 0:47:50 | |
is something that we could actually see on the roads. | 0:47:50 | 0:47:53 | |
And now we must move on to the current James Bond. | 0:47:54 | 0:47:57 | |
-Vodka Martini. -Shaken, not stirred? -Do I look like I give a damn? | 0:48:01 | 0:48:05 | |
Daniel Craig's first film, Casino Royale, | 0:48:11 | 0:48:14 | |
ushered in an era of tougher, more realistic action. | 0:48:14 | 0:48:17 | |
And this no-nonsense tone | 0:48:20 | 0:48:23 | |
also gave us one of Bond's most brutal car stunts. | 0:48:23 | 0:48:26 | |
This is the Aston he drove, an Aston Martin DBS. We'll come back to it in a minute. | 0:48:28 | 0:48:33 | |
But first, let us delve into the book Casino Royale. | 0:48:33 | 0:48:35 | |
In it, there is a passage in which Bond is giving chase to some baddies | 0:48:35 | 0:48:39 | |
who've kidnapped the girl he loves, Vesper Lynd. | 0:48:39 | 0:48:42 | |
This is what happens. | 0:48:42 | 0:48:44 | |
"He was only doing about 60 as he approached the black patch | 0:48:44 | 0:48:47 | |
"across the right-hand crown of the road. | 0:48:47 | 0:48:49 | |
"Even so, there was no time to save himself. | 0:48:49 | 0:48:52 | |
"There was suddenly a small carpet of glinting steel spikes | 0:48:52 | 0:48:56 | |
"right under his off-side wing. | 0:48:56 | 0:48:57 | |
"Then he was on top of it. The heavy car whirled across the road | 0:48:57 | 0:49:01 | |
"in a tearing dry skid. | 0:49:01 | 0:49:03 | |
"And then it reared slowly up, | 0:49:03 | 0:49:06 | |
"its front wheels spinning and its great headlight searching the sky. | 0:49:06 | 0:49:09 | |
"It seemed to paw at the heavens like a giant preying mantis. | 0:49:09 | 0:49:13 | |
"Then, slowly, it toppled over backwards and fell, | 0:49:13 | 0:49:17 | |
"with a splintering crash of coachwork and glass." | 0:49:17 | 0:49:20 | |
For the film, the producers wanted to recreate and up-date that moment. | 0:49:20 | 0:49:26 | |
And boy, did they! | 0:49:26 | 0:49:29 | |
On the storyboards, the plan was for Bond to give chase in the Aston, | 0:49:30 | 0:49:35 | |
come across Vesper lying in the middle of the road | 0:49:35 | 0:49:38 | |
and then swerve violently to avoid her | 0:49:38 | 0:49:41 | |
causing the car to roll. | 0:49:41 | 0:49:43 | |
The stuntmen rehearsed the roll-over with an old BMW 5 series | 0:49:46 | 0:49:49 | |
which flipped easily. | 0:49:49 | 0:49:51 | |
But when they tried it with the actual car, | 0:49:51 | 0:49:54 | |
the more aerodynamically-shaped Aston | 0:49:54 | 0:49:56 | |
just wouldn't roll. | 0:49:56 | 0:49:58 | |
So they thought, "Let's fit a cannon underneath | 0:50:10 | 0:50:13 | |
"that'll fire into the ground and flip the car. | 0:50:13 | 0:50:16 | |
"That should do it." | 0:50:16 | 0:50:18 | |
It did! | 0:50:19 | 0:50:21 | |
In fact, by the time the Aston came to rest, | 0:50:33 | 0:50:36 | |
it had set a new world record | 0:50:36 | 0:50:38 | |
for the number of rolls in a car stunt. | 0:50:38 | 0:50:41 | |
'And cut it!' | 0:50:45 | 0:50:47 | |
This desire for hard realism | 0:50:52 | 0:50:54 | |
can also be seen in the epic car chase which forms the opening sequence | 0:50:54 | 0:50:58 | |
of the latest Bond film, Skyfall. | 0:50:58 | 0:51:00 | |
The chase sequence in Skyfall does that relentless thing. | 0:51:07 | 0:51:10 | |
It just builds and builds and builds. | 0:51:10 | 0:51:12 | |
It starts here on the streets in Istanbul | 0:51:12 | 0:51:14 | |
with the baddy in a Audi A5 being chased by Bond in a Land Rover Defender. | 0:51:14 | 0:51:18 | |
Then after much bashing and smashing and tyre squealing, | 0:51:18 | 0:51:21 | |
the Audi ends up on its side. | 0:51:21 | 0:51:23 | |
And because the Bond people are no fans of CGI, | 0:51:31 | 0:51:35 | |
preferring to make their car chases in the old-fashioned analogue way, | 0:51:35 | 0:51:39 | |
they do get through quite a lot of metal! | 0:51:39 | 0:51:42 | |
15 Audis alone will meet their maker in this sequence. | 0:51:47 | 0:51:51 | |
So what kind of Bond baddy are you? | 0:51:52 | 0:51:54 | |
Uh... | 0:51:54 | 0:51:55 | |
A cocky one. You know, he loves what he's doing. | 0:51:55 | 0:51:59 | |
He's a great driver, a great rider, a great shooter and he's a great fighter. | 0:52:01 | 0:52:06 | |
And I have the best teachers. | 0:52:06 | 0:52:08 | |
I have Ben Collins teaching me how to drive an Audi! | 0:52:08 | 0:52:11 | |
Yes, our former Stig, | 0:52:14 | 0:52:17 | |
having doubled for Daniel Craig in Quantum of Solace... | 0:52:17 | 0:52:20 | |
is now a Bond driving instructor. | 0:52:21 | 0:52:24 | |
And also the wheel man in the very latest type of stunt vehicle. | 0:52:24 | 0:52:28 | |
Come on, talk us through it. Nice t-shirt! | 0:52:30 | 0:52:32 | |
Thanks. Just need to update that a bit. | 0:52:32 | 0:52:34 | |
-Did you pay for it? -Yeah, it was in the sale! Good. | 0:52:34 | 0:52:37 | |
So how does this work? What is it? | 0:52:37 | 0:52:39 | |
It's a standard Land Rover, pimped, | 0:52:39 | 0:52:41 | |
they've played with the suspension, given it more power. | 0:52:41 | 0:52:44 | |
On top of that is the pod. That's where I sit and where I drive. | 0:52:44 | 0:52:47 | |
All the controls are based up there. | 0:52:47 | 0:52:49 | |
The way it works, the actress or actor can sit inside and they can do their dialogue | 0:52:49 | 0:52:53 | |
without worrying about steering. | 0:52:53 | 0:52:55 | |
-It's budget, that. -It's mega. That's why the car chases are real. | 0:52:55 | 0:52:59 | |
So you taught Daniel to drive, didn't you, for films. | 0:52:59 | 0:53:01 | |
-Fast, yeah. -Yeah? -He's got a heavy right foot. | 0:53:01 | 0:53:05 | |
He picked it up really quickly. I met him down at Dunsfold | 0:53:05 | 0:53:08 | |
and taught him drifting and took him through an assault course. | 0:53:08 | 0:53:11 | |
Handbrake turns, J turns. | 0:53:11 | 0:53:13 | |
Occasionally I had to tell him to try and stay off the grass, not to spin too much. | 0:53:13 | 0:53:17 | |
It's amazing stuff to do. You should write a book(!) | 0:53:17 | 0:53:19 | |
I'm just thinking the same thing. | 0:53:19 | 0:53:21 | |
After the Audi ends up on its side, | 0:53:22 | 0:53:25 | |
the baddy and Bond commandeer some crashed motorbikes | 0:53:25 | 0:53:28 | |
and continue the chase on two wheels. | 0:53:28 | 0:53:31 | |
So the motorcycles come up these stairs here | 0:53:33 | 0:53:36 | |
into this area. | 0:53:36 | 0:53:38 | |
We had to be very careful because of the archaeological treasures that are in this temple. | 0:53:39 | 0:53:44 | |
We've been having a problem making sure we preserve them. | 0:53:44 | 0:53:47 | |
We can't touch anything in here. | 0:53:47 | 0:53:49 | |
This is one of the oldest arches in Istanbul. | 0:53:49 | 0:53:52 | |
It dates from about the 10th century. | 0:53:52 | 0:53:54 | |
It's restored. It's Roman up to here | 0:53:54 | 0:53:57 | |
and 10th century all round here. | 0:53:57 | 0:54:00 | |
Inside here, you see the brickwork's been restored in the 1900s | 0:54:00 | 0:54:05 | |
but otherwise, it's completely original. | 0:54:05 | 0:54:08 | |
And from this side you can see the great... | 0:54:08 | 0:54:11 | |
I bought that completely, Michael! | 0:54:11 | 0:54:14 | |
Totally. I totally bought that. | 0:54:14 | 0:54:16 | |
I was thinking how does that work? | 0:54:16 | 0:54:19 | |
We try to make it pretty real. | 0:54:19 | 0:54:21 | |
We try... We still do stunts, | 0:54:21 | 0:54:23 | |
but try to make them look like they're not stunts. | 0:54:23 | 0:54:26 | |
They look like they could happen. | 0:54:26 | 0:54:29 | |
And that "being real" thing, | 0:54:29 | 0:54:31 | |
-we want to watch a Bond film and think, "Somebody's doing that." -Right. | 0:54:31 | 0:54:35 | |
Someone's doing the stunt. It may not be the actor, | 0:54:35 | 0:54:38 | |
but some human being is doing it. | 0:54:38 | 0:54:40 | |
The human being doubling for Daniel Craig in the bike sequence | 0:54:43 | 0:54:46 | |
is stunt rider Robbie Maddison, | 0:54:46 | 0:54:49 | |
whose skills will be tested to their limit | 0:54:49 | 0:54:51 | |
because the bike chase doesn't just happen on the streets. | 0:54:51 | 0:54:55 | |
But also up here, on the ancient city rooftops. | 0:54:56 | 0:55:00 | |
The opening scene, we come down this pathway | 0:55:01 | 0:55:04 | |
in front of us here. I'm chasing the bad guy as fast as I can go. | 0:55:04 | 0:55:08 | |
-What pathway? Seriously, what pathway? -These little ones here. | 0:55:08 | 0:55:12 | |
On bikes. OK. | 0:55:12 | 0:55:14 | |
What kind of speeds are you hitting on these walls? | 0:55:21 | 0:55:24 | |
Fourth gear, we're probably doing about 70 kilometres an hour | 0:55:24 | 0:55:28 | |
on the roof. So we're coming along the pathways and jumping some of the rooftops. | 0:55:28 | 0:55:33 | |
So if you come up here slightly too fast on this side | 0:55:39 | 0:55:44 | |
and get your tyre in one of these ridges, | 0:55:44 | 0:55:46 | |
you're going to jump off there and there's nowhere to land. | 0:55:46 | 0:55:48 | |
It's one of those jumps where either you get it right | 0:55:48 | 0:55:52 | |
-or you pay the consequences. -It's really bad. | 0:55:52 | 0:55:54 | |
The dangerous part is that we've got no helmets on. | 0:56:04 | 0:56:06 | |
So the bad guy's got no helmet, Bond's got no helmet. | 0:56:06 | 0:56:09 | |
But I guess Bond can't stop, buy a crash helmet, reject it cos it doesn't fit, buy one that fits... | 0:56:09 | 0:56:15 | |
He's not expecting a bike ride, is he? | 0:56:15 | 0:56:17 | |
After the bike sequence, the chase reaches a spectacular climax | 0:56:23 | 0:56:28 | |
on the roof of a train. | 0:56:28 | 0:56:29 | |
And as far as cars go, | 0:56:41 | 0:56:43 | |
there's also another treat in store. | 0:56:43 | 0:56:46 | |
This DB5 I'm driving | 0:56:48 | 0:56:50 | |
is not the actual one used in Goldfinger. | 0:56:50 | 0:56:54 | |
But it is the actual one used in Skyfall. | 0:56:54 | 0:56:58 | |
Which means | 0:56:58 | 0:56:59 | |
it's back! | 0:56:59 | 0:57:01 | |
And I suppose that's completely inconspicuous(!) | 0:57:10 | 0:57:14 | |
It's no secret we've got the old DB5 in this. | 0:57:14 | 0:57:19 | |
You know, the buttons are all there. They're in the console. | 0:57:19 | 0:57:22 | |
I get to play with them. We blow a few things up in this movie, | 0:57:22 | 0:57:25 | |
-but that's... You know. -No way! | 0:57:25 | 0:57:27 | |
-Explosions and things? -We've got a few of them! | 0:57:27 | 0:57:30 | |
But on the car chase thing, | 0:57:30 | 0:57:32 | |
-how did you find it? Did you get to grips with it? -I love it. | 0:57:32 | 0:57:34 | |
It's, you know, getting the chance to drive some beautiful cars, | 0:57:34 | 0:57:37 | |
as well as some clapped-out cars, | 0:57:37 | 0:57:40 | |
it's like a schoolboy dream. | 0:57:40 | 0:57:44 | |
I get to wreck a few as well. | 0:57:44 | 0:57:46 | |
I've wrecked a few expensive cars. | 0:57:46 | 0:57:48 | |
Our old Stig did some stunt-driving training with you. | 0:57:48 | 0:57:52 | |
I'm not blowing smoke, but he did say you were very good. | 0:57:52 | 0:57:54 | |
He's a lovely man. He is on a retainer, though, by the way! | 0:57:54 | 0:57:57 | |
And now that Skyfall has brought us to the present day, | 0:58:01 | 0:58:04 | |
it's time to return to Matlock and fire up our birthday present. | 0:58:04 | 0:58:09 | |
HMS Heath Robinson! | 0:58:10 | 0:58:12 | |
Good. Solar. | 0:58:15 | 0:58:17 | |
On. Deploying dive planes. | 0:58:18 | 0:58:21 | |
Oh, yeah. WHIRRING | 0:58:21 | 0:58:23 | |
Listen to that comforting Bond noise | 0:58:23 | 0:58:26 | |
that tells you something somewhere is making mechanical magic happen. | 0:58:26 | 0:58:30 | |
Nothing else to do. We are ready. This is it. | 0:58:34 | 0:58:38 | |
Obviously I have switched my engine off, so I'm rolling it. | 0:58:41 | 0:58:46 | |
But as soon as I hit that water, I can fire up my thrusters | 0:58:46 | 0:58:49 | |
and away we go! | 0:58:49 | 0:58:50 | |
Oh, that feels peculiar! | 0:58:53 | 0:58:55 | |
I'm very conscious of the fact that this is a Top Gear creation! | 0:58:55 | 0:58:58 | |
Here comes the w... Oh! | 0:59:04 | 0:59:05 | |
It's only working, isn't it? | 0:59:07 | 0:59:10 | |
I watched the film as a kid. | 0:59:31 | 0:59:33 | |
And now, for real, | 0:59:33 | 0:59:35 | |
I'm in a James Bond-style submarine Lotus. | 0:59:35 | 0:59:41 | |
I'm controlling it with these levers. | 0:59:47 | 0:59:49 | |
These steer the dive planes on the back. | 0:59:49 | 0:59:52 | |
The buttons on top operate the thrusters. | 0:59:52 | 0:59:55 | |
The thing is positively buoyant. It wants to float. | 0:59:55 | 0:59:58 | |
But the thrusters and the dive planes | 0:59:58 | 1:00:00 | |
drive us under the water. | 1:00:00 | 1:00:02 | |
Now, you'll notice I haven't actually drowned, and yet we built this thing. | 1:00:02 | 1:00:07 | |
That's because the air that's rushing into the cabin right now | 1:00:07 | 1:00:10 | |
is pushing out the water. | 1:00:10 | 1:00:13 | |
So... Although there are a few leaks, | 1:00:14 | 1:00:17 | |
there are a few leaks happening, | 1:00:17 | 1:00:19 | |
but this is, well, there's no other word for it, | 1:00:19 | 1:00:22 | |
quite simply brilliant. | 1:00:22 | 1:00:24 | |
It actually works. | 1:00:24 | 1:00:26 | |
And now, sadly, it's time to end the show. | 1:00:32 | 1:00:36 | |
Looking back over 50 years of Bond, | 1:00:39 | 1:00:41 | |
yeah, there have been movies with maybe better car chases. | 1:00:41 | 1:00:46 | |
Bullitt and Ronin. | 1:00:46 | 1:00:47 | |
But I don't think anyone has done as much to give the cars character, | 1:00:48 | 1:00:54 | |
to make them personalities in their own right. | 1:00:54 | 1:00:56 | |
And I don't think anyone has done so many amazing things with cars | 1:00:56 | 1:01:00 | |
and done them for real. | 1:01:00 | 1:01:02 | |
Basically, I'm saying I don't think anyone has done as much as the Bond people | 1:01:02 | 1:01:06 | |
to make sure cars have their own plinth in the cinema hall of fame. | 1:01:06 | 1:01:10 | |
Thanks for watching, and goodbye! | 1:01:12 | 1:01:14 | |
Yeah, that is a leak now. | 1:01:18 | 1:01:20 | |
I... I'm... | 1:01:20 | 1:01:21 | |
ORCHESTRAL MUSIC: "We Have All The Time In The World" | 1:01:22 | 1:01:26 | |
Subtitles by Red Bee Media Ltd | 1:01:47 | 1:01:50 |