Everything or Nothing (2012) - full transcript

DANIEL CRAIG: As a child, I remember my

first exposure to Bond.

Transporting you, taking
you to this wonderful place,

with extreme situations.

James Bond doesn't really
like to look back.

We know very little about his past.

How did he end up being
where he is and the way he is?

Fleming put his own struggles on the page.

This is fifty years now
and they've kept it going.

It's unique within movie-making.

On a number of occasions,
I think Bond would have died



away and we would have lost it.

In the face of overwhelming
odds, he finds a way.

(BOND THEME MUSIC PLAYING)

(AIR RAID SIREN BLARING)

SIR CHRISTOPHER LEE:
Ian was a great patriot.

Staunch defender of Britain.
He knew what evil and

villainy were and what they stood for.

CHAMBERLAIN: Long live
the cause of freedom.

God save the King.

I knew Ian. He was a distant cousin.

I knew about his wartime work.
His involvement in what

was known as black operations.

So that really does mean a license to kill.

JOHN PEARSON: Ian was
a Commander for the Royal Navy.



Although he wore a naval uniform,
he spent the whole

of the war stuck in
room 39 at Naval Intelligence.

He was a desk sailor.

He never really saw any very close action.

He'd have loved to have been
a hero at the head of what he

called his Red Indians.

Ian created this
intelligence-gathering commando unit

and they went off rampaging and rushing
across Europe and digging out

secrets and finding adventures.

LUCY FLEMING: My uncle knew about spies.

The experiences that Ian had
had during the war

and the people he'd met,
particularly the people he'd met

who were very brave, very adventurous,

rather shocked his imagination.

Cooking away in his head.

IAN FLEMING: People like
to read about heroes.

Espionage is regarded by
the majority of the public

as a very romantic affair. A one man job.

One man against the whole
police force or an army.

(EXPLOSION)

LUCY: Just after the war,

I think he lost his way.

He said his mental hands were empty.

PEARSON: I'd been working for
The Sunday Times.

I met this very charming,
slightly alarming character

who was Ian Fleming.

He really hated his job.

It was a very dreary place
and I think the boredom was part of this

depressive character which he had.

I lived with him
from the time when I was fifteen.

Real melancholia comes from within.

Ian could have been
melancholic on a lovely day.

PEARSON: Sometimes
you'd see his eye wandering to the far wall

and there was a very, very faded rather

boring looking print of Montego Bay.

He'd escape from the mud of
The Sunday Times

into the cream and that was his dream.

GoldenEye, it was the
ultimate romantic hideaway.

He came alive once he got there.

BLANCHE BLACKWELL: He had
come to Jamaica in 1942.

He said "If I live through this war,

"this is where I'm having my home."

GoldenEye was most beautiful.

A huge vine with masses of
humming birds, looking down

onto a wonderful view of the beach.

And he loved to swim.

Colorful fish. Angel fish,
sharks and barracudas.

I had to hold on to his feet

so that the tide didn't take him away.

He was full of query.

You could see him observing everything.

He was just like a little boy really.

LEE: Ian was not averse
to the company of the ladies.

Quite a lad to put it mildly.

BLACKWELL: The first time I met him,
he came up to me

and said, "I hope you're not a lesbian."

And I was kissed, rather passionately.

PEARSON: But Ian was a man
of infinite contradiction.

A drink was never good enough.

Women were never satisfying enough.

He discovered the Bond motto

which was "The world is not enough,"

which could have been written
specially for him.

LUCY: I think he just needed to know
what his mission was.

He'd needed something to do.

SIR WINSTON CHURCHILL:
An iron curtain has descended

across the continent.

With the Cold War,
Ian now had another war on his hands.

The Russians have behaved
in a very villainous

way since the war.

PEARSON: Ian had
no illusions about the Russians.

We were up against a very,
very dangerous enemy.

Tricks of torture and violence are what

the KGB gets up to now in Russia.

PEARSON: It prompted Ian to action.

LUCY: That was
the absolute making of it.

Building up to this, that timing was right

and Ian was ready.

LEE: James Bond could be

the perfect protector of
the helpless and the innocent

against evil.

PEARSON: And Ian said,
"I'm going to write the spy thriller to end

"all spy thrillers."

BLACKWELL: He wrote
in a corner of GoldenEye

and shut the shutters so that
he could concentrate.

LUCY: He'd found what he could do,

then he flew.

PEARSON: Very fast.
Two thousand words a day,

on a golden typewriter.

Short sentences.

LUCY: Sentences like
"Bond's gun spoke once."

"Never look back." He said,

"If you look back, you're sunk.
Just keep writing.

"The story is everything."

PEARSON: The way he put facts together.
The way-out fact, the interesting fact,

which are the work of
a very clever journalist.

He could write.

PEARSON: Like an addict,
he'd found a perfect recreational drug.

Bond could be what he couldn't.

LEE: Every man wants to be infallible.
Every man

wants to win.
Every man wants to get the girl.

Every man wants to be number one.

PEARSON: He gave Ian the
chance to see things through

a new pair of eyes.

Everything was suddenly
exciting again for him.

A sense of life renewed.

Bond was his solution. His therapy.

Depression and self-doubt and all the other
miseries which afflicted him.

Bond always beat his demons.

He gave one description.
Bond is looking in the mirror.

The dark hair, the high cheekbones.
The same height, the same build.

It was Ian's alter-ego.

Bond was Ian.

His first book, Casino Royale,

it's almost a confessional really

of what he is, what he wanted.

Sadism, sex. All the secret
unspeakable things he desired.

It was an autobiography of a dream.

IAN: When I started
to write these books, I wanted a really flat

quiet name, and one of my bibles out here

is James Bond's Birds of the West Indies.

And I thought, "Well, now James Bond,
now that's a pretty quiet name."

And so I simply stole it and used it.

I was Ian's literary agent.

I thought not only is this a
very, very well-written book,

it broke a whole lot of new ground.

IAN: There are many
different kinds of thriller

writers and many different
kinds of thrillers.

I try and thrill the reader
right down to his taste buds.

LUCY: Ian had seen
Bond very clearly as a film character.

He thought they would make good films.

JANSON-SMITH: He knew he'd
created something that ought to succeed.

IAN: I was just on the edge
of getting married

and I was frenzied at the
prospect after having been

a bachelor for so long

and I really wanted to
take my mind off the agony.

LUCY: Ian's wife, Annie, didn't approve

of the books, and didn't want
Casino Royale to be

dedicated to her 'cause
she thought it was filth.

This struck me as a monstrous piece of
work, certainly a very bad novel indeed.

The crude sadism, the disgusting sex,

women who could not
restrain themselves from

getting into bed with him
at the slightest opportunity.

And, at the same time, snobbery.

Not even the snobbery of a proper snob.

It's a snobbery of an expense account man.

And I was so disgusted by it.

JANSON-SMITH: The public weren't ready
for this. These books were

ahead of their time.

PEARSON: He went through a period
when any attempt to get films made

failed lamentably.

In one moment of despair with Bond,

he mortgaged off the rights
of Casino Royale for next-to-nothing.

NARRATOR: And now, Casino Royale.

LEITER: Oh, you're a legend, old boy.
"Card sense Jimmy Bond," they

call you. My name's Clarence Leiter.

I didn't know I had
that much of a reputation.

LEE: The Americans, if you told them
you were going to make a story about a

British secret service agent,
they said, "No, no,

"he's got to be American."

PEARSON: Jimmy Bond.
That was dreadful.

Jimmy!

He was disappointed that the
film industry was so stupid.

LUCY: Sometimes he just wanted to stop.

The fact that he did keep going,

it says a lot about him really.

PEARSON: Already you feel
this is a man

who's going to push himself to the limit.

The big question was whether Bond
could survive, and would survive.

Who would protect the
Bond character and make sure

it made the big step into film?

Was it actually gonna work?

Everybody would call him Cubby.

Very few people would say "Mr. Broccoli."

- You're familiarly known as Cubby.
- Yes.

How did you get that name?

Harry Hershfield, who was a
cartoonist had a character

called Abie Kabibble.

When I was going to school,
they called me Kabibble

and then down to Cubby.

BARBARA: It was such a friendly nickname.

Such an open, cuddly name that I think

it encouraged people to approach him.

And Broccoli, is that anything
to do with the vegetable?

CUBBY: Yes. My family, they brought
the vegetable to America.

That story goes back a few years.

BARBARA: My father believed
you could achieve whatever you wanted to.

Whatever you desired.
If you worked hard any dream was possible.

Cubby came to Britain to
start making movies in 1952.

Britain and Cubby were made
for each other.

He loved the British and
their sense of humor. Their whole lifestyle.

BARBARA: When you look at the films
Cubby made in Britain, they were mostly

escapist action adventure.

He wanted to take people out of their lives,

transport them on an adventure
to something magical.

He would love going out
on to a location very early

and watch, as he put it, the circus arrive.

The tents are unfolded,

and the makeup and the actors.
That was his big thrill.

WILSON: Cubby was always captivated

by the Bond books.

Inspired by the way Bond thinks,
the way he acts, what drives him.

BARBARA: As soon as he read them,
he immediately knew that he

wanted to make them as films.

He was very excited.
He set up a meeting to talk Ian Fleming

into giving him the rights.

Unfortunately, at the same
time, he had the terrible

news that his wife, Nedra,
was diagnosed with cancer.

Cubby couldn't make the
meeting so he sent his partner.

He's a blow-hard, this guy, and he said,

"Well, I don't think that the Bond books
would make films.

"They're more television."

He ended up insulting Fleming.

So it didn't work out.

It certainly was the lowest point of his life.

His wife, Nedra, died.
He had two young children.

He was widowed.

And the dream that he had
of making the Bond films was over.

MORGAN: Producing
these books got harder for Ian.

It became a strain.

This Bond thing, it was
almost too much for him.

JANSON-SMITH: He was finding it very

difficult to think of new plots.

He was worried and he was tired,
and it was hard work.

PEARSON: Bond became what
he described as this cardboard booby.

Time was ticking by.
Ian was rapidly becoming a drunk.

Certainly drank far too much.
He was a deeply addictive person.

Benzedrine, dark brown scotches
every night

and seventy Morland cigarettes a day.

MORGAN: Ashtrays absolutely
overflowing with cigarette stubs.

And these very large bottles of phensic pills

that he gobbled down because
of his terrible headaches.

PEARSON: Ian had really hit rock-bottom
and didn't know where to take Bond.

He was desperate
to find someone who could save the day.

Circus, Circus proudly presents
The Flying Palacios.

Everything with Harry had to
be larger than life.

He was a showman.
He started off in the circus.

My father grew up in all the
feathers and the make-up.

He was a man who loved to entertain.

My father had original dress sense
and he liked the primary colors.

Yellow, red.

Little banana suits with
matching yellow hats.

And also matching socks.
He said, "I don't want anyone to miss me."

HILARY: He had an
extraordinary imagination. Great ideas.

WILSON: They just
came out of him, one after another.

HILARY: He never shut off. He was always
thinking, always creating.

He didn't want to miss any opportunities.

He had one phone in one ear,
one phone in the other ear.

And he was talking into one of them in
French, 'cause he's French-Canadian.

Then the third phone rang,
he was like, "Where do I put it?"

"I need a third hand."

JANSON-SMITH: The whole thing was
like a comedy half the time.

He was amazing.

HILARY: He wanted to present
something to the world

that had never been heard of
or seen before.

ST. JOHN: Everything Harry did,
he did for Jackie.

HILARY: He drew my mother money,

and things that he planned one
day to be able to afford her.

STEVEN: She'd open up a scrapbook and

in it would be pictures of
her trousseau of jewels.

For now it's a drawing,
but next time it will be a reality.

He wanted to be hugely successful for her

and that's why he was desperate to
get the rights to the Bond films.

He loved those books.
He would re-read them all the time.

He had such faith in it
that he paid Fleming for the rights.

He'd bet every last penny on James Bond.

But now, he couldn't raise
the cash to make these films.

STEVEN: He had debts.
He was up against the wall.

HILARY: He had a goldmine
that he couldn't dig up.

WILSON: Cubby was courting my mother.

We sat down and I said,
"Do you know what you're getting into,

"because she's a very headstrong woman?"

And he laughed. He said,
"Are you trying to talk me out of it?"

I thought it was fantastic.

It was a perfect match.

Anyone who makes a film always is an
optimist. Cubby always said that.

BARBARA: A friend of Dad's said,
"You know, what is it you wanna do?

"What do you really wanna do?"

And he said, "I wanna do James Bond."

This friend of Cubby's, he said,
"Well, I know a guy, Harry Saltzman.

"He's got the rights. He's got an option.
Why don't you go talk to him?"

And that's how he got involved with Harry.

MAN: (ON PA) The countdown
is four minutes and counting.

There was a huge deadline problem.

MAN: Remain on standby.

My father just couldn't get
the studios behind him.

He was down to the last days
before his option stopped.

WILSON: Time was running out for Harry

and Cubby had the Hollywood
connections to help make a deal.

BARBARA: Cubby and Harry formed
a company called EON,

Everything Or Nothing.

There was never any middle ground.

It was always,
"Give it everything you've got."

Both of them knew what it was like
to be down in the dumps.

And I think they just went for it.

WILSON: They got on a plane, went to
New York City to convince Columbia.

First place was Columbia 'cause that was
Cubby's home. They turned him down.

And then United Artists.
We had a phone call from Harry

and Cubby saying
they wanted to meet with us.

So we faced each other.

They said we had to spend
somewhere over a million.

And in those years,
that was a serious budget.

It was a risk.

That was a big moment for me.

One million bucks.

DAVID PICKER: An enormous decision.

We said, "Okay."

I was very excited.

They'd made a deal with
United Artists and they were in business.

I couldn't believe our good luck.

It staggers me to this day
that Columbia passed.

But they did and we got them.

JANSON-SMITH: He was delighted

that at last Bond is on the screen.

LEE: Ian, without Cubby and Harry,

would have been another writer
who wrote entertaining books.

James Bond could have been a comic book
character and never become a film.

But, on the other hand,

when Ian was first told about
the casting of Sean, he didn't agree at all.

He was quite acid about it,
as a matter of fact.

United Artists also had a feeling

that it should have been
an American star name.

Sean Connery, they were against it.

Normally, the question from the
distributor is "Who is gonna play in it?

"Cary Grant or James Mason?"

And when you surprise them by telling
them you want an unknown,

they were not entirely sold.

SIR SEAN CONNERY:
I left school when I was thirteen.

I worked as a laborer, and steel-bender
and fixer, and delivered coal.

LEE: Bond was not an overgrown

body-building muscle-man
or words to that effect.

BARBARA: He and Harry
knew Sean was the guy.

When they were told by the studio,

"Keep looking,"
they went to bat for Sean Connery.

They did fight for him.

WILSON: By casting this
diamond-in-the-rough type of person,

really they wanted to make him
into an American style hero.

An anti-hero that you
could sympathize with.

JUROE: When women were shown
the screen tests, they all reacted.

BOND: I admire your courage, Miss...

Trench. Sylvia Trench.

Dad was always very interested
in my mother's opinion.

He said, "Is he sexy?"

(CHUCKLES) My mother said,
"Yeah. Are you kidding? He's very sexy."

That clinched the deal.

I admire your luck, Mr...

Bond. James Bond.

JUROE: Here you had this hunk,

the very ballsy, masculine British actor
which was almost a contradiction in terms.

BARBARA: He could make love
to a woman and turn around

and kill someone in the next second.

I mean, there are not many people
able to do all that.

Just as things were getting
interesting again.

And you could believe that when that girl
jumps into bed with him,

that she really would have.

JUROE: The transition
of a successful book into a film

is fraught with danger at every turn.

PICKER: We agreed Dr. No made sense.

And then it came down to who
was gonna direct the first movie.

If they'd chosen the wrong director,
that would have been the end of it.

All right, give it go.

I knew that Terence would
make a good action picture.

He had been a tank commander
in the war so he had a lot of courage.

All right, here we go now. Action!

PICKER: He had the style,
he had the clothes. He had the look.

He saw himself as James Bond.

CONNERY: Terence set the style of it.

Then he took me in hand and knocked me
into shape with his tailor and the gear.

JUROE: Terence Young took Sean Connery
and made magic.

Bloody good.

CONNERY: We shared
a similar sense of humor.

I think they were on their way to a funeral.

PICKER: I mean, Terence was a hoot.

The choice of Ken Adam
to design the movies was crucial.

Ken found a way to capture on film

what Fleming had written on paper.

Like Terence, I was also
a little crazy with courage.

I was a fighter pilot.

It was a very dangerous pastime,

diving 600 miles an hour on German tanks.

You have to be slightly crazy.

The '60s was like a revolution in England.

An enormous rebirth of the arts.

We wanted to do away with all the shit.

Get rid of any restrictions
and let ourselves go.

I started scribbling,
then suddenly something happened.

It was like having an orgasm.

The fantasy world, to me, became real.

The key will always be in the script.

If the script isn't right, there is nothing
that the best director can do.

PICKER: Richard Maibaum
was a first-class screenwriter.

DR. NO: That's a Dom P?rignon '55.
It would be a pity to break it.

I prefer the '53 myself.

(SCREAMS)

HILARY: Everything needed to move
and be big and explosive.

STEVEN: Action, action, action.

HILARY: And non-stop story-telling.

STEVEN: And then there was Maurice.

The design of the 007 logo,
the whole barrel.

The whole opening sequence.

The key pedestals of the
James Bond movie was his work.

HILARY: Ian Fleming's themes of sex,
the themes of death, he embraced in his art.

BARBARA: And that big Bond music...
Sexy, brassy, adventurous.

John Barry created something
completely new. A completely new sound.

JOHN BARRY: Give it size, give it style,
and give it class.

That's what we did. That was the fun of it.

BARBARA: It came down to the team.

All these great, talented people.

And that's when
the James Bond family really began.

They went off and made their movie

and when it was finished they delivered it.

BARBARA: When Dr. No was released,

it came at the same time
as the Cuban Missile Crisis.

WILSON: We were all facing disaster.

STEVEN: That resonated on a lot of people's
fears and anxieties.

Whether it was the right place,
whether it was the right time...

JUROE: Kennedy even commented,

"I wish that I'd had
James Bond on my staff."

Fleming had created a character
Kennedy could relate to.

LEE: Kennedy's endorsement...

I mean, what more could you ask for?

If it's good enough for the President,
it's good enough for me.

NEWS REPORTER: (OVER RADIO)
Washington... The President said

he was entirely satisfied...

That makes two of us.

STEVEN: When Bond came out, the world
was very gray. It was black and white.

Here you get this film, highly colorful,
filled with flash and bang.

It was an escapism, a chance to see
great places and to leave their dreary lives.

We make the first, it works.

In making the second,
we knew we had something going.

By Goldfinger we had
a cultural phenomenon.

JUROE: It was absolutely magic,
what was happening.

There was screaming, there was yelling.

You couldn't believe the audience reaction.

CONNERY: Champagne, adventure.

And all the sexual fantasies
of the healthiest virile bachelor.

JUROE: They were so transported
by the magic that was Bond,

they had a reaction completely out of self.

PLESKOW: We started to play the picture
24 hours in a day.

That's how successful
these Bond pictures were.

I must be dreaming.

(CROWD APPLAUDING)

(SINGS) Goldfinger

JUROE: If there ever was the goose
that laid the golden egg,

that was the James Bond franchise.

REPORTER: The films have already made
a profit of nearly $120 million.

Huge sums of money.

My father was very, very proud of that.

HILARY: He was in his glory.

He produced his life
the way he produced his movies.

Anything you wanted,
anything you could have.

Buying my mother
the finest things possible.

STEVEN: I would go to school in a Rolls.

The fact that you had a home with
a swimming pool on the first floor,

I didn't know a different life.

HILARY: We had a fantastic childhood.

All these extraordinary people
coming and going.

Joan Collins, Roger Moore
and Michael Caine.

A girlfriend came to my house and fainted

because of the people that were
in our living room. She couldn't handle it.

STEVEN: The two families were very close.

HILARY: And we were like
brothers and sisters.

At weekends, either at our house
or their house.

We lived like one big circus family.

JUROE: Cubby and Harry could do no wrong.

They worked very well together.
The perfect team.

And from that point on,
there was no looking back.

(SINGS) He loves gold!

PEARSON: The success really
did come too late for Ian.

Just as the films were taking off,

he had this terrible ordeal of the High Court
action by a man called Kevin McClory.

A ghostly figure from his past.

Before he'd even met Cubby and Harry,

in the days when he
still despaired with film,

Kevin had charmed Ian
to collaborate on scripting

an underwater Bond adventure

which would be the genesis
of the film Thunderball.

JUDY GEESON: Kevin's life
was cinematic in itself.

Right out of the Bond world.

Everyone wanted to be around
him because life was fun.

McCLORY: I sat with Ian Fleming and I said,

"You create incredible
character for the screen."

Ian was very taken in by him.

PEARSON: They were helped by a
screenwriter called Jack Whittingham.

They met up in the Bahamas, the three
of them, Fleming, McClory, and my father.

JANSON-SMITH: Tossing ideas around
for an original film script.

I can very well understand, since
they'd probably all had several drinks,

that the next morning it was very difficult
to decide who thought of what.

PEARSON: And, of course,
the whole thing fell apart.

Kevin McClory sued Ian for plagiarism.

PEARSON: Ian, most stupidly,
used the plot for the book of Thunderball,

which laid him open to the charge
of having pinched McClory's central idea.

MALE ANNOUNCER: This is BBC Television.

And now here is a special announcement.

It was a great shock to me
to hear at lunchtime today

that Ian Fleming was dead.

He came into my life through
Dr. No and From Russia With Love.

And, strangely enough,
when I first met him

he wasn't somebody I particularly liked.

But as I got to know him better,
I grew to like him immensely.

I realized that he was a shy person,
a rather withdrawn person.

In fact, he's the all-time reluctant success.

And I went into my room and wept.

I then thought there'll never be
another Bond book.

MASON: The court case

with Kevin McClory was very bad for him.

PEARSON: Kevin won.

Ian's deep sense of injustice

suggested Bond
no longer belonged to Ian but to him.

BLACKWELL: Very stressful.

And that's what caused him
to have the heart attack.

PEARSON: Bond had helped kill him.

You create this monster and the monster
ends up by destroying you.

There was the very moving occasion

when he was asked to
describe fame and success.

"Ashes, dear boy, ashes."

JUROE: Ian Fleming
assured Harry and Cubby

that they had nothing
to worry about with Thunderball

as far as Mr. Kevin McClory was concerned.

It turned out to be a little bit different.

Kevin did believe that Bond was his.

And he wasn't gonna give it up.

McCLORY: I'd believed in '65 that Bond was,
in fact, here to stay

a very, very long time.

Depending on who makes the films,
there lies the measure of success.

The court case gave him
the rights to film Thunderball.

And he tried to make Thunderball himself.

WILSON: Cubby and Harry did not want

Kevin McClory making
an independent Bond.

It would sabotage the whole phenomena,
kill the golden goose.

BARBARA: It made sense
to bring him into the fold.

WILSON: So they got together
and made a deal with Kevin.

One of the provisions was that
Kevin would be the sole producer.

And Saltzman and Broccoli
were the executive producers.

Do you think they'd let this guy
come in off the street and be a producer

if there wasn't a situation
that could not be avoided?

BARBARA: Despite all these problems,
it was an incredibly successful film.

It was the most successful
Bond film to date.

At the end of the making of Thunderball,

the expectation was that that was the end
of the involvement with Kevin McClory.

But they made a mistake.
The writing was on the wall.

Kevin McClory was given the rights,
after a certain period of time,

to remake Thunderball.

That was the brilliance
of what McClory did.

And therein you can lay
all of the problems that came later.

BILL CARTLIDGE:
When you get invited to do a Bond film,

you're already on
this bandwagon of success.

(SPEAKING JAPANESE)

The only thing that can go wrong
is if you mess it up.

I must insist that you don't say anything
until I give you instructions.

JUROE: As the saying goes,
you're only as good as your last movie.

The biggest challenge in the creativity
is to do something never seen before

that makes it more unique and that is a
very, very difficult thing to accomplish.

When we did You Only Live Twice,
taking a unit into a place like Japan

was very difficult in itself.

Bond was so big in Japan.

CARTLIDGE: We couldn't shoot
on any locations whatsoever

without attracting
the most enormous crowd.

Something in the region of 400 journalists.

GILBERT: It got out of hand.

CARTLIDGE: Sean couldn't move anywhere.

GILBERT: It was impossible.
Somebody spotted him and he disappeared.

CARTLIDGE: They were nearly tearing
the clothes off his back.

CONNERY: Never been
so pressurized in my life.

It's the invasion of one's privacy

and you get some real head-cases
that come round.

Now he's an actor. He's here to do a job.

He's here and he has not been given
the privilege and respect

in Japan for a certain amount of privacy.

We will not co-operate
with them if they're gonna do this.

CARTLIDGE: Cubby did
his very best to protect Sean.

The truth is it was almost impossible.

GILBERT: He went to the loo one day.

Got himself on the toilet,
looked up, and there was a guy

with a camera looking down on him.

And Sean came out, furious.

And after that, I think he really had had it.

The fame got to Sean,
there's no doubt about it.

ADAM: Some people
have difficulty with success.

Sean was very money conscious.

He always felt he was being exploited.

JUROE: He agreed to an amount of money
but always felt he was not paid enough.

CONNERY: I know exactly what it is
to be without money.

I know exactly what money is to me.

It got personal.

CONNERY: I dislike intensely injustice.

The producers were frightfully greedy.

JUROE: Sean's fight was with
Saltzman first and Broccoli second.

Harry was not the diplomat.

ST. JOHN: He wasn't
very good at relationships.

He used to steamroller people.

JUROE: He would suddenly
blast out, yelling at you.

And his eyes would get so angry.
I mean, they would just bore into you.

I could never take him seriously.

Sean took him seriously.

ST. JOHN: Sean disliked Harry
and the feeling was mutual.

Harry considered
that they'd created a monster.

CARTLIDGE: It got so bad,
we're doing a scene,

there was atmosphere quickly on the set

and Sean suddenly comes to a stop.

He just stood there and didn't say a word.

I glanced to my left and there was Harry.

Sean told Harry Saltzman
that if he ever walked on the stage,

he would stop work
and that's exactly what he did.

REPORTER: 007 himself

is hanging up his shoulder holster
and calling it a day.

I'm ready, in myself,
to make a change of direction.

- So this is your last Bond film?
- Yes.

And the next thing you knew,
they came in and said

he wasn't gonna do
the last picture in the deal.

And that did not make us happy.

What would you think?
Your leading man is gone

and here, the series was jeopardized.
That's not good news.

I thought it was very bad judgment
on their part.

The fact is Cubby and Harry renegotiated

their deal with us, several times.

They were keeping themselves happy
but they weren't keeping him happy.

He didn't like it and I don't blame him.

JUROE: Saltzman and Broccoli

intuitively felt Bond
didn't depend on Sean Connery.

James Bond was bigger than the actor
who played James Bond.

He won't be the last one under any
circumstances, all due respect to Sean,

who I think has been certainly
the best one to play this part.

This won't stop us from
making another Bond

'cause there's an audience
out there who wanna see it.

PICKER: Sean was gone, he was out,

and we had to get somebody else.

Goodbye, Mr. Bond.

That was the challenge.

How could we save the series?

Well, at least he died on the job.

He'd have wanted it this way.

GEORGE LAZENBY:
When the Bond thing came up,

the odds were I'd get it, because
I wanted it more than anybody else.

I was a country boy, 22 years old.

I took this girl
that I really fancied to see Dr. No.

And going in, I think I had
about 90% chance of

getting lucky afterwards

and coming out I had about 20%.

But here's this guy
who can get any girl he wants,

kills people who gets in his way...

Jesus, I'd like to be that guy.
And that's when it started.

I had nothing on my mind,

night and day, except getting that job.

I wasn't an actor. I want that job, though.

So I went off and I got a suit
that Connery didn't want.

Where were you measured for this, bud?

My tailor, Savile Row.

I got a Rolex watch,

I went to Connery's barber.

You like close shaves, don't you?

All I had to do was get past this
feisty female at the desk.

And I waited outside the door.

As soon as she bent down behind the desk.
I went "shoom,"

and I just bolted past her and up the stairs.

And she's going,
"Wait! Hey, come back here!"

But it was too late,
I was already up the stairs

and leaning on the door saying
"I heard you were looking for James Bond."

Harry says, "Where have you acted?
'Cause we've never heard of you."

I said "Well, I was acting
in Germany, in Russia,

"Czechoslovakia.
Oh, I did a film in Hong Kong."

Every place I thought
they couldn't check on.

Harry was impressed. "Can you be here
at four o'clock tomorrow?"

I was so scared. I'm thinking,
I'm way over my head with these guys.

The director was cheesed off, I could tell.

He's looking at me, he said
"Okay, tell me what you've done."

And I don't know what made me
do this but I said, "Peter,

"I've never acted before."

Well, he was stunned.
Then he started laughing,

and I said, "Why are you laughing?"

He says, "Well, you tell me you can't act,"

he said, "You've fooled two of the most
ruthless guys I've ever met in my life.

"You're an actor."

He said, "Stick to your story,
I'll make you the next James Bond."

Peter said, "I wanna test him,"
and then they took me out to their place.

Went on for four months, the testing.

They said, "Can you swim?"

I dived in and I came up at the other end.

'Cause I'd seen Connery
was swimming underwater,

and I was showing them I could do it for
real without that little thing in my mouth.

And then they took me out horse-riding.

"Can he ride a horse?"

Well, I rode the thing round the paddock
until it ran out of steam.

And Harry and Cubby were so concerned
about my sexuality

because I'd been a male model.

They did send a girl up to my apartment.

I think after that they realized
that I was straight.

United Artists wanted to
see me in a fight scene.

I wasn't afraid of doing fight scenes,

I'd probably had a couple of hundred,

being brought up in Australia in the bush,

every Friday night
you'd be punching somebody,

just for fun.

Your blood runs a bit.

I chinned him.

He fell on the floor.

And Harry grabs me,

and he says, "We're going with you."

Gatecrasher.

I can remember saying to myself,

"I'll never be broke again.

"I've got the job.
Now whatever I want is at my fingertips."

I could go to any nightclub
anywhere in the world.

They'd say,
"Oh, here's James Bond. Let him through."

I'd get paid money just to show up.

They'd give me a helicopter to fly down
to villages at night and take girls.

And a limo would be waiting where the
chopper landed and we'd go off to dinner.

It wasn't difficult to get laid.

You'd get four or five girls a day.

For a young guy like me, it was spot on.

The monster side of you would come out.

I went in a gun shop and the guy sold me
a Luger because I was James Bond.

I was throwing bottles up in the air
and shooting them

and the crew kinda got a bit nervous.

I believed I could do anything.

- I was drunk every night.
- Sorry, ma'am.

I was totally out of control.

That's when Broccoli and Saltzman
started to worry about me.

DJ: (OVER RADIO)
You're tuned to Radio Caroline.

LAZENBY: Ronan O'Reilly was the guy
who created Radio Caroline.

He took me under his wing.

He was anti-Establishment

and he could hurt the Establishment
by taking me away from it.

He said, "These guys are monsters

""cause they're just gonna use you
and spit you out."

I felt that Ronan knew
what he was talking about.

It was the hippy movement.

People were starting to
think differently about life.

LSD was out there.

Most of us think the brain is us.

But the brain, to me, is like a muscle.

Your brain, that's something
you're programmed to be.

Ronan was opening my eyes.
I was really under his spell.

He told me, once you get typecast as Bond,
you can't get different parts.

People were going to Easy Rider,
that was the big movie of the time.

There was hardly any young person
that didn't have long hair.

And you can imagine how I felt walking
around with short hair trying to get laid.

(CHUCKLES)

I looked like a cop or a waiter,

and people were "peace not war."

And Bond was about war.

Ronan had convinced me
I wasn't gonna survive

and I was basically speaking "his" mind.

I grew my hair and had a beard
for the premiere

and they said, "He's not coming like that."

They couldn't stop me.

I was not the way they wanted
their James Bond to be.

Does this mean
you've lost confidence in me?

I am well aware of your challenge, 007.

- Sir, under the circumstances...
- That's all, that's all.

LAZENBY: They let me go.

I'd blown my shot at being
a big famous movie star.

I remember being at a party in Monaco

and Roman Polanski saying,
"This is George, the redundant actor."

And I had to look up what
"redundant" meant but I, I really...

I felt that I wasn't wanted anywhere.

For a long time, I didn't know who I was.

I wanted to be James Bond.

But you couldn't live
the way James Bond lives.

But it is the best book.
That one caught me emotionally.

MAN: The bride and bridegroom,
Mr. and Mrs. James Bond.

I'd actually cried at the end
of reading the book.

It was a very romantic
piece of writing by Ian.

The first really serious love affair
in Ian's life was during the war.

It was with his naval dispatch rider,
Muriel Wright.

I think he'd never
met a girl quite like her before.

The archetypal Bond girl.

(MACHINE GUN FIRING)

It's Blofeld.

PEARSON: The awful thing was poor Muriel
Wright was killed, a piece of shrapnel

from a German bomb.

Ian was absolutely heartbroken.

And always blamed himself
for never having treated her better.

Full of the remorse when one's behaved
badly to someone one loves.

My God, you just killed James Bond.

Is that who it was?
Well, it just proves no one's indestructible.

Clearly the franchise was in trouble.
We had one challenge.

We said to Harry and Cubby,
"We gotta get Sean back."

Sean wasn't about to
talk to Harry and Cubby.

All right, let's get down to business.

"I'll make a two-picture deal with him.
He can make any two pictures he wants.

"Any two. I don't care.
They're approved right now.

"A million dollars each.

"And I will pay him a million, two hundred
and fifty thousand dollars

"to do the next Bond movie."

Thank you very much.
I was just out walking my rat and I

seem to have lost my way.

Having been away for four years,
I think one had made the point too that the

lack of success of the one previous.
The one that I wasn't in, anyway.

And coming back in to do this one,
to make the conditions of

not being so much a pawn
in the circumstances.

BARBARA: The public wanted Sean back.

I remember Harry not being thrilled
that Sean came back.

BARBARA: Very difficult,
because Sean had been publicly

acrimonious towards Cubby and Harry.

But in typical Cubby fashion, he tried to
make Sean feel as comfortable as possible.

WOMAN: While Connery's in action,
he seems very happy playing Bond.

But off-set he becomes gloomy.

CONNERY: No, I, I came back for the one,
that was the understanding.

I don't know whether
it's a part of the Scots mentality, but Sean

seems to hold on to a grudge.

I was having a party.
I asked Cubby and I asked Sean.

Now, they'd not mixed at all

from the time that Sean
had left after Diamonds.

I wanted them to make up.
It was sort of ridiculous.

Two friends, antagonistic
towards one another.

Cubby was a sentimental man
and he was very hurt.

He thought, "I found this guy,
he was unknown, and

"gave him a job which made him
a very rich man and he resents me. Why?"

We're back to the old thing of
you resent the hand that feeds you.

There's old Albert. Now he's a croc.

Got over-careless with him some time back
and he took my whole arm off.

Well done, Albert.

ST. JOHN: When Roger was being
suggested as the next Bond,

Harry very much wanted him
to be Bond and Cubby didn't.

And that caused a lot of problems
between them.

BARBARA: Who fought more for him?
I have no idea,

but whereas they had always
been of one mind on the early

Bonds, I think now they
started to have different ideas.

They started to depart from each other.
There was a lot of friction.

And the strain began to show.

MAUD ADAMS: I think, at the time,
there was confusion

as to the direction of the Bond movies.

There is a scene in
The Man with the Golden Gun

when they tried to make him look like Sean.

Ah! You're hurting my arm!

It didn't work at all, in my opinion.
Roger is a gentleman.

He will charm women into bed. He didn't
have to force his way around them.

The fear I had of saying
"My name is Bond, James Bond."

People would say, "Oh, you're trying to
imitate Sean," which I couldn't do.

There seems to be some mistake.
My name...

Names is for tombstones, baby.

Y'all take this honky out
and waste him, now.

MOORE: I suddenly had this panic attack.

"God, what am I gonna do
if they don't like it?"

Personally, I loathed the violence.
I am a pacifist.

Which is hardly the right background
for somebody who's playing Bond.

For you, mister, twenty bahts.

I'll tell you what, sonny, I'll give you
twenty thousand baht if you can

make this heap go any faster.

Twenty thousand baht.

I'm afraid I'll have to owe you.

MOORE: I look back
on that with absolute horror.

Roger Moore,
UNICEF goodwill ambassador,

knocking little Thai boys off boats.

BARBARA: The focus was divided
and it affected the making of the films.

The result was, The Man with
the Golden Gun wasn't as successful.

It must have been very difficult for Roger.

Two producers,
who he was very fond of, at war.

(SHOT FIRING)

ST. JOHN: Cubby didn't understand
at all why Harry

was so determined to do other things.

He felt Harry didn't
pay enough attention to Bond.

STEVEN: There was a competitiveness
between him and Cubby.

The way to be more successful than Cubby
is to do more than Cubby.

JUROE: He wanted to be a giant.
He wanted everybody to accept

that he was the king of the hill.

WILSON: Harry got into other businesses.
Dejour Camera, Technicolor,

some real estate propositions
and he even had a sausage factory.

ST. JOHN: He was writing checks
left, right and center.

Why? What'd he need it for? He didn't
know anything about the businesses.

He was in financial trouble and he knew it.

WILSON: The banks
started to come after Harry.

They called in the loans

and that's when it began to unravel.

And that's why he had to sell out.

That was terrifying for Cubby.
Suddenly he had no idea

who his partner was gonna be.

ST. JOHN: The break-up of Harry and Cubby

took place in the Beau Rivage Hotel.
And there were masses of lawyers.

I was a lawyer at the time
and I took a leave of absence

to work this thing out for the family.

ST. JOHN: Documents going back and forth.

Cubby had wanted Harry
to sell the shares to him

and Harry wouldn't sell them to Cubby.

Cubby took it very personally
that Harry wouldn't sell to him. I mean,

how could you not?

STEVEN: There was hostility,
litigious hostility.

The United Artists bought Harry out.
It was the only way Harry could get out.

UA became Cubby's partner.

BARBARA: Once Harry sold to UA, the fate
of Bond was tied to the fate of the studio.

ST. JOHN: When it was signed,
about 4:00 in the morning,

there was certainly no celebration.
It was very sad.

Everything changed in a moment.
This lifestyle, this

extraordinary bubble, just suddenly burst.

STEVEN: My mother
had to sell all her jewels.

She had a beautiful sixty-nine karat
diamond solitaire.

A James Bond ring. And I remember her
taking her ring off and giving it to

Harry and saying,
"Diamonds aren't forever."

Then my mother got sick.
No amount of money could fight cancer.

STEVEN: My mum got sicker and sicker.

HILARY: And I watched this man
that was so larger than life, and

who had been on the top of the mountain
just fall apart and crumble,

and it was devastating to see.

STEVEN: My father became very insular.

He was so bereft at her death,
there was no funeral.

He couldn't handle it.

BARBARA: Breaking up of the partnership
affected him deeply. He was a very

emotional man and now he was alone.

JUROE: In the film business, it can be
one strike and you're out.

The Man with the Golden Gun was
regrettable, but if the next one had gone

the same way then there could
have been a big, big problem.

The Spy Who Loved Me was a
big roll of the dice for Cubby.

BARBARA: It was double or quits.

He was going to put everything on the line
and make it the best Bond film ever.

But, James, I need you.

So does England.

The pre-title sequence on
Spy Who Loved Me

was a metaphor for what Cubby
was doing at the time.

Here you have James Bond,
on his own, skiing off the edge of a cliff,

going into the abyss
looking as if he's not gonna make it.

It's a real symbol of Cubby's
determination and courage.

The homage to survival.

JUROE: I had never seen
reaction in the cinema

as there was that night.

You couldn't help it.

You could not help but stand up.

Even Prince Charles stood up.

Bond then became a national treasure.

Well, really, Mr. Bond.

I've been asked to state my feelings
about a fellow named Bond.

Bond is fearless, skilled, witty, courageous,

and, one other thing,
he always gets his girl.

007!

He became the man all men wanted to be
and all women just wanted.

Oh, James.

I can't even tell you how
huge it was in our house.

We got snacks if it was a James Bond.

Bon app?tit.

If I had a tail it would wag.

That's really why I wanted
to do Austin Powers.

Allow myself to introduce

myself.

Austin Powers is out of pure love
for James Bond.

Of course, some critics might say

that Bond is nothing more than
an actor in the movies,

but then we've all got to start somewhere.

The whole thing is that you
must not laugh at it.

You must let the audience know
that they're invited to laugh with you.

Forgive me, Father, for I have sinned.

That's putting it mildly, 007.

Egyptian builders.

MOORE: I suppose because
I was more relaxed,

I really could make
James Bond Roger Moore

rather than Roger Moore James Bond.

233, take 1. And reintroducing...

I was getting paid a lot of money
to be a grown-up schoolboy.

MAUD: Cubby and Roger were really,
really good partners.

Now, you want to know why
I'm doing another Bond?

BARBARA: Cubby loved
being in the thick of it.

MOORE: He cared about his crews
as he cared about his actors.

MAUD: Always making sure
that you were doing all right.

Grandfatherly in a sense.

A typical Italian padrino godfather.

BARBARA: He wanted everybody
to enjoy his success.

If we were going out for dinner,
he wanted everybody to come.

Savoring every moment of

this extraordinary experience
of making movies.

It was such a wonderful family atmosphere,
and it must have been

such a relief after the tension
of the previous films.

What came out of the
break-up with Harry was Michael.

Michael, who he had loved as a step-son,
then came into the fold

and helped tremendously
re-chart the course of Bond with Cubby.

WILSON: Cubby never took
a Bond for granted.

He never took the audiences for granted.

There was a feeling that
one day we would see Bond films

in China, in Russia.

That there are people of
goodwill on both sides

that didn't want the world to descend
into chaotic violence.

That was part of our wishful thinking.

We would try to not make things worse.

That's d?tente, comrade.

(LAUGHING)

BARBARA: Time had passed

and Cubby just felt that he wanted
to make peace with Harry.

I know Harry missed Cubby a lot.

HILARY: My father received an invitation

to the premiere of For Your Eyes Only.

He was very nervous.
He had become incredibly reclusive.

It was the first time he was really
coming out in public

and I don't think he was sure
how he would be received by Cubby.

And it was such a special moment

when he and Cubby saw each other.

It was as if the whole room fell away

and the only thing that existed
were these two men

who walked across the room
and hugged each other.

It was loving and friendly and needed.

STEVEN: It touched him profoundly.

He was beaming.

It really was the closing
of that period of sadness.

Harry, to his death, would say,

"I was the producer of
the James Bond movies."

He was still proud of that.

Code name?

Thunderball.

McCLORY: Counter-intelligence, terrorism,

revenge, extortion.

MASON: Kevin's whole life was Bond.

He lived, ate, breathed Thunderball.

It was an obsession.

They couldn't have had any idea how
tenacious he would be about his rights.

McCLORY: We had
a little problem with the Bonds

mainly because there's... Broccoli and Co.
have their Bonds, we have our Bonds.

MOORE: McClory always was in lawsuits
claiming the rights

to be producing Bond himself.

It was an ongoing battle.

BARBARA: We were getting the sense
that this was an adversarial situation

that was probably never gonna go away.

Kevin McClory came to see me.

He said that after 10 years

the rights to do Thunderball
reverted back to him.

In 1971, he walked out, saying...

Never again.

Never?

But now James Bond is back.

The real James Bond,

with the ironically titled
Never Say Never Again.

The trump card of Kevin McClory
was that he had Connery.

Not that he was remaking Thunderball.

GEESON: Getting Sean Connery
to come back, it was just...

That's Kevin at his best.

BARBARA: Cubby took it personally that
Sean wanted to make a rival Bond.

I don't know whether Sean made
Never Say Never Again to spite Cubby.

Would you welcome Sean Connery.

JUROE: Anything I can do that's
gonna upset Broccoli

I'm gonna do if my name is Sean Connery.

Who played the first Bond villain?

Cubby Broccoli.

(BOTH LAUGHING)

Of course it hurt.
Of course it hurt my father a lot.

MOORE: It just made
the team more determined

to make Octopussy bigger and better.

MALE REPORTER: This is turning
into the battle of the Bonds.

Bond trying to kill Bond.
It's kill or be killed.

BARBARA: We just gotta get our head down

and just make the best film we can.

That's all we can do.

We'll fight them off.

The audience will determine that.

JUROE: A lot of anxious nights.

There were a lot of phone calls
checking what did it gross.

The minute those
first releases were finished,

we knew we were dealing with a success.

Never Say Never Again,
I think proved the point

that a Bond film cannot exist
with just one element alone.

Just having Sean wasn't enough.

If you say "Who's the best Bond?"
I'd say "Well, obviously, Sean was."

He created a character that had
become part of British film history.

You were a very good secret agent.

- Oh.
- Really.

It was clearly the last time
Sean was gonna be wooed back.

But Kevin loomed for decades.

I first met Pierce Brosnan when he was
on the set of For Your Eyes Only.

It was Corfu. Well, my late wife, Cassie,

she got a job as a Bond girl.

And there I found myself on the set
of a James Bond movie.

There was jokes made
that I'd be the next James Bond.

And little did I think it was
gonna play such a major part in my life.

I got this great role in a
series called Remington Steele.

And Remington Steele put me on the map.

Then, in '86, they canceled the show.

By this time, they were looking for a Bond
to do The Living Daylights.

And my name was in the hat.

I auditioned and I got it,

but there was a clause in the
Remington Steele contract

where they had 60 days
in which to resell the show.

So we were assured that everything
was gonna work out fine.

I thought, "This is fantastic.

"I'll go off and now
be an international movie star."

The 60 days ticked away.
Everything is looking good.

I'd already done the photographs.

I'd stood there by the sound stage
with the classic pose.

I was with him in L.A.
to handle the announcement

and we were gonna have
this big press conference.

Thank you.

And Pierce was just the
happiest person you could be.

It's Day 60. We're off to the races.

Telephone call for Remington Steele.

Miss.

And the phone rang as I was walking out
and I thought, "Shall I answer it?"

And I thought "I'd better
answer the phone." "Hello?"

Until recently, the new 007

was to have been TV's
Remington Steele, Pierce Brosnan.

He apparently missed out on
the part when NBC decided

to pick up the MTM-produced
series after it had been canceled.

And the man was absolutely shattered.

BROSNAN: It wasn't until about
six months later, I think, that I really began

to kind of have a whiplash effect.

I drove down the Pacific Coast Highway.

Billboards of Tim everywhere as Bond.
I was gutted.

Thinking of the possibilities
that could have been.

Why did it go so wrong?

We have a new James Bond.
Now it's Dalton. Timothy Dalton.

A Welsh actor who's more used to
playing Shakespeare than secret agent.

CUBBY: We've always liked him.

And we're sure his
interpretation of James Bond

will be one that we will be happy with.

TIMOTHY DALTON: The first question
you ask a producer is

"What do you want of me?"

Do you want me to carry on
in the vein that's been set

or do you want to set off on a new course?

The safe, the easy answer is to say,
"Stick with it as it is."

In which case, I guess I'd have said, "No."

Roger was brilliant at what he did

but I couldn't simply copy what he'd done.

The movies had become
somewhat pastiche.

Before you go too long,
you've become a parody of yourself.

You've lost depth, you've lost texture,

you've lost contradictions.
You've started to get shallow.

What makes these movies work?
What is it that got them going?

You've got to go back to the beginning.

Here was a hero who murdered
in cold blood.

Bam! Bam! Bam! Bam!

The dirtiest, toughest,

meanest, nastiest, brutalest
hero we'd ever seen!

This is what started those movies.

Shocking.

I wanted to bring people back
to believing in this character,

to bring my reality to it.

I guess I've always liked a challenge.

I'm enthusiastic about it.

I'm 80 years old and I'm still
enthusiastic about making Bond.

He was very excited about
starting up again.

A real sense of nostalgia,
going back to the beginning

when it was all fun and full of promise.

Slate one, take one.

REPORTER: Licence to Kill,
the 16th 007 adventure,

is not the usual Bond dose of escapism.

Instead, a tale of the nasty times we live in.

ROBERT DAVI: Timothy
wanted to get the job done.

He was a man on a mission.

It was the most violent
Bond picture to date.

Pushing the envelope all over the place.

"This is terrible.
I can't bring my six and seven year olds

"to see Bond anymore."

Well, it was never made
for six and seven year olds.

They're meant for warm-blooded,
heterosexual adults.

They are not meant for schoolboys.

The further out on a limb you go,
the more exciting it is.

That he was tightly wound is no joke.

MALE CRITIC: Timothy Dalton,
if he has a weakness,

it's the comic side of the character.

MALE CRITIC 2: Dalton is solemn,

displaying little style and almost no humor.

There's always a message in the ravioli.

Judging from the audience reaction,
that's not what they wanted.

DALTON: You know, going in, that
half the world loves Roger Moore

and half the world loves Sean Connery.

Whatever you do, you might end up
with everybody in the world hating you.

JUROE: Timothy Dalton was
a very, very good Bond.

You saw him acting on the set and you
thought, "Gee, boy, that's something."

But somehow or other,
the public just didn't buy it.

How do you explain something like that?

BARBARA: Tim got
the beating for it, unfairly.

It wasn't him, it was the films,

particularly Licence to Kill became too dark.

I think that he was
very much ahead of his time.

Sometimes the audience takes
a while to catch up with the change.

You know, Cubby said an interesting thing.

It took three pictures for
Sean Connery to be accepted as Bond.

So when you look at Tim,
he only did two attempts.

DALTON: We had started what would
have been my third movie.

The studio was going through
terrible sort of paroxysms.

BARBARA: Harry selling his shares

meant that Bond was suddenly
having to deal with Wall Street

and became a pawn

in a lot of negotiations.

PICKER: That's when
the financial sharks take over.

PLESKOW: United Artists got dismembered
and sold and resold.

PICKER: And the people who suffer
are the creative people.

New people have been brought
in and it's very difficult

to make films with all of this
interference that's been going on.

He just wanted to make movies.

That's what he wanted to do.
That's what he was meant to do.

The thought of spending his
last few years fighting a lawsuit

was just overwhelming.

WILSON: You have to remember,
Bond was off the screen for six years.

Obviously people were asking
questions "Why isn't there a movie?

"What's happened?"

PRIEST: We therefore commit
this body to the deep.

WILSON: Everyone was
wondering "Was that it?

"Will there ever be another Bond film?"

OFFICER: Present.

Fire.

BARBARA: He talked to Michael and I.
And he said, you know,

"I don't think I can survive this."

So he said, "I want to put it up for sale."

Fortunately, people were then
put in place at the studio

and they were the people that
Cubby felt that he could work with.

Beg your pardon. I forgot to knock.

(GRUNTS)

BROSNAN: I was aware of this fallow time,

that it had been dormant six years.

When it came back in '94, I heard the
rumblings and heard the tom-tom drums

that they were going to
come round and ask me.

Having been disappointed once, having
been to the altar and left standing there,

I didn't even want to
enter into such a scenario.

Then, one day, the phone rang
and it was my agent.

He said, "You've got the job. You're in."

I said, "Are you sure? We're on?"
and he said, "It's happening."

"Thank you. Great news."

And he said, "You can't tell anyone.
This is top secret."

"I won't tell anyone."
(MOUTHING) I'm James Bond.

"I won't tell a soul, Fred.
Okay, goodbye. See you."

(INAUDIBLE)

"I am Bond!
I am James bloody Bond at last.

"All right, crack it open."

James, you're incorrigible.

(SONG PLAYING) From Russia with love

DAME JUDI DENCH: I think
that the whole business suddenly

of the Cold War virtually ending

must have been a terrible fright.

Each time a new film is written,

that it must somehow
be relevant and up-to-date.

Christ, I miss the Cold War.

BARBARA: The press were saying
Bond was a pass? thing.

The world has changed,
there are no enemies

so there's no need for James Bond.

WILSON: Bond had been
off the screen for so long,

The Wall Street Journal
said it was a $50 million gamble

that just wasn't worth taking.

There was a real doubt that Bond could
survive in the post-Cold War environment.

Because I think you're a sexist,
misogynist dinosaur.

A relic of the Cold War.

Cold War. Okay, it's gone,

it's over, but you still have secret agents.

You still have countries that
want to protect what they know.

FAMKE JANSSEN: Whether or not Bond
could make a comeback at that time,

what needed to be updated?
What could remain the same?

I remember feeling very nervous
that a female M would be accepted.

JANSSEN: How do you know
if people are still gonna respond to it?

There were no guarantees.

BROSNAN: A world awaiting
the arrival of the next Bond,

who he's gonna be and will he match up?

The director, Martin Campbell,
used to say to me,

"You'd better be fucking good.
You'd better be fucking good."

"Sharp as a knife. Sharp as a knife!"

He takes up the swan dive position,

puts his head back

and he looked over at the crane operator.

And he just saw the guy go...

And then it was like...
(MAKES WHOOSHING SOUND)

And then you get down to the nitty-gritty

and we're shooting my close-up.

You walk on to the set
and it's your first time.

All eyes are on you. And I have to say,

"The name's Bond. James Bond."

"The name's Bond. James Bond."

(EXHALES)

Those fears. You didn't want to screw it up.

MOORE: My name is Bond. James Bond.

BROSNAN: Roger would come in
and Sean would come into my mind.

CONNERY: My name is James Bond.

BROSNAN: In the end, I didn't fight them.
I just let them in.

And I just thought,
"Well, it's balls to the wall, really."

"Just say it and own it
as much as you can."

The name's Bond. James Bond.

Hold on to your hat,
this is gonna be such a fast ride.

And it was.

He could have just rolled out of bed
and he would have made the perfect Bond.

People would send me movies
all the time because I love the Bond films.

And I watched them in the
theater in the White House.

Brosnan, I thought, was really good.

And just perfect
for the transition out of the Cold War.

BROSNAN: That machine is just ferocious,

and by the time I came to do GoldenEye,
that machine was well-oiled and hungry.

Xenia Sergeyevna Onatopp.

Onatopp?

(GRUNTING)

(GASPING)

Throw me hard. Just throw me.
Toss me against that wall.

I'd stopped breathing at that point.

I broke my rib.

Ah!

But it kind of summed up to me

"Let's just go for broke here
and take enormous risks."

No more foreplay.

BARBARA: It was a huge relief for all of us

that the audience accepted Pierce.

And that Bond was back with a vengeance.

What was the second one? Tomorrow
Never Dies or The World Is Not Enough?

I always get confused.

I only remember GoldenEye.

(LAUGHING)

The rest was a blur.

They did push everything
to the limit during that period.

They threw everything at it
except for the kitchen sink.

There was the invisible car.

Everybody thought
it was the most ridiculous idea.

Bond has completely lost its authenticity.

"Right, Brosnan, we're gonna
do kite-surfing tsunamis today."

Kite surfing a tsunami.

Oh... (LAUGHING)

BARBARA: The last big decision
Cubby made was casting Pierce.

Cubby was very pleased.

And once that decision was made, he said,

"Okay, now, it's over to you and Michael."

"I want you guys to carry on."

He was very unwell.

It was difficult not having
Cubby around on a day-to-day basis.

He left such a void.

I'd never contemplated not doing Bond.

It's been my whole life.

As a young child, I thought
James Bond was a real person,

and there was a sense of anticipation
that he was going to appear at any time.

I think it was very
reassuring to him to know

that Bond was gonna continue
and that his legacy would continue.

I was in a restaurant, Sean was there.

He came over to me and said,
"Well, I'd like to speak to him."

And he did ring.
And I put the phone to my father's ear.

Sean said, "Hello, Cubby. How are you?"

And he said, "Well, not so great."

And then my father said to Sean,
"You know...

"We... We made something
really great together."

And he said, "I love you,"
and Sean said, "I love you, too."

And that was it.

And I thank the Academy
for allowing a farm boy from Long Island

to realize his dream.

The man who brought James Bond to
the big screen, producer Cubby Broccoli,

has died at his home in Hollywood.
He was 87.

BARBARA: He said, "I know
you're all worried about

"what's gonna happen to dear old Dad,

"but I've had a fantastic life
and I have no regrets."

He did his work and he was with his family,
and that was enough for him.

PICKER: There is something
very personal about Bond.

It was created by two producers.

The family of one of them is still involved

and I think it definitely attributes
to the success of the films.

BARBARA: He had so much advice.

He said to me, "You know,
the most important thing, Barbara, is

"don't let the outside forces screw it up.

"It's all there.
This wonderful world of James Bond.

"This fantastic team, just keep that.
You know, just keep that going."

He instilled a lot of confidence in us,

and I still feel I carry him with me,
you know, every day.

IAN: We have a lot of dangers
that some lunatic may suddenly

get hold of weapons
and start threatening the world.

He had this inkling that non-state actors
could one day destabilize the world.

I can't help feeling that
that is probably the way of history.

DENCH: I remember seeing that happening
as it was happening.

Looking at it, thinking it was part of a film
when I was watching.

BARBARA: 9/1 1 happened.

And that had had a huge impact on all of us.

Michael and I struggled with
the direction we were gonna take Bond.

It didn't really seem right to have a...

A flippancy to the films at that point.

BROSNAN: Barbara and Michael
had to reposition themselves.

Do they continue with me,
even though they've set sail

and we've done four
and they've been successful?

It was... It was a horrible
phone call for Barbara

and for Michael to make.

And it was a very hard
phone call to receive.

They just said, "We don't know
how to go on, we don't know what to do."

And I said, "All right.

"Well...

"Thank you. It was good. Goodbye." Click.

Don't make it personal.

Never.

Bond?

Come back alive.

BARBARA: Pierce was a hard act to follow.

It's a huge challenge now for all of us.

Creating a new version of the character
for this new century.

Cubby always used to say, "Whenever you
have a problem, you go back to Fleming.

"Go back to the books."

The first creative output
of Ian Fleming was Casino Royale.

It's like a first child.
That's always the special one.

However, there was a problem.

WILSON: Kevin McClory was doing
a deal with Columbia

based on their rights to
the original Casino Royale

and his rights to Thunderball.

They were gonna package those up
together and start a rival Bond series.

It was a threat we couldn't ignore.

We thought, "Here we go again."

A whole 'nother slew of legal problems.

GEESON: Kevin was, at one point,
offered to settle the case out of court.

I said, "Kevin, please accept it
then it's over. It's over."

But he rejected.

What was he gonna do?
That's what he'd done all his life.

Maybe he just couldn't let it go.

Maybe it was what he did.

MASON: When he tried to return to America
for this final court case

after a lifetime of suing up to this point,

he couldn't get back into the country
because of visa problems.

- Mr. Franks?
- Yes.

Follow me to Customs, please.

BARBARA: Even without Kevin present,
the judge considered the evidence

and ruled that Bond belonged to us.

The settlement to that was that
we got the rights to Casino Royale,

and that was a blessing.

To me, personally,
it was very emotional because

I knew how much Cubby
had wanted to make the film.

The pressure was really on
to do it justice and to make the film

that Fleming and Cubby
and Harry would have wanted.

There's no film series
that has guaranteed success.

No one wants to be on the crew
that made the last Bond film.

SAM MENDES: It could easily have died
with the wrong actor.

One of the amazing acts
in the whole history of Bond

is Barbara Broccoli's
determination to cast Daniel Craig

against everybody's insistence,
because he wasn't

from the Roger Moore/Pierce Brosnan
tradition.

I myself was called
by Entertainment Weekly

to be asked for my comment,

and I said I thought it was
a terrible idea, terrible idea.

I don't think he's Bond and I think
it will be a mistake for him in his career.

That just shows you how widespread
the feeling was that Daniel was not Bond.

MALE REPORTER: Livid Bond fans have
lashed out at the first ever blond Bond.

FEMALE REPORTER: Are you
going to be dyeing your hair?

Because in the publicity photo,

- it looks darker.
- It looks darker? It's the lighting, that's all.

So you're going to be blond?

Hard enough to play the part.

Made harder by stupid remarks.

And that's unforgivable, I'm afraid.

And unkind.

CRAIG: I was knocked for six by it.

There's no way to prepare yourself for it,

but I knew what we had
was something very special.

And all I could do was just
get on with my job.

Well, I understand double-0s
have a very short life expectancy.

So your mistake will be short-lived.

I'd looked at Fleming,
his writing and I'd looked at the darkness.

IAN: Spying is, in fact, a dirty, dirty trade.

We talked to some of our
secret service chaps

and they said,
"Well, if you want to see these agents,

"you will find most of them
gambling in the casino at Estoril."

So I sat down at the table
and bancoed one of the Germans once.

Raise.

IAN: Lost.

I bancoed him again. Lost again.

I hope our little game
isn't causing you to perspire.

IAN: Bancoed him for a third time
and I was cleaned out.

Oops.

It was on the basis of this real life episode

that I based the big gambling
scene in Casino Royale.

LUCY: The gambling and the torture
in Casino Royale are based totally

on things that happened in the war.

And I think much worse torture
than he actually put in the book.

It's the simplest thing to cause more pain
than a man can possibly endure.

(GROANS)

(SCREAMS)

CRAIG: Fleming put a lot of his angst
and his feelings

and his personal struggles into the stories.

IAN: I think the hero suffers.

He has a good time. He gets the girl,

but in the process of that,
he's got to suffer something in return.

The truth is like that.

BARBARA: Bond really
doesn't talk about how he feels.

He has an internal dialogue.

Things Fleming wrote about that are very
difficult to portray on the screen,

Daniel is able to communicate.

You can see what's going on
behind his eyes.

And you can feel the pain.

Whatever is left of me,

whatever I am, I'm yours.

BARBARA: Bond is an assassin.

He can't have a family. He can't have a wife.

He carries a heavy burden,

having to go out and fight
to protect all of us.

PEARSON: Like Bond, no love affair
could really work with Ian.

I think he found it very difficult
to love consistently.

Making sure that he was never hurt again.

CLINTON: In the modern world,
you're worried about terrorist chaos.

All these forces that, to most people, seem

difficult to understand
and impossible to influence.

Are you gonna tell us who you work for?

(LAUGHING)

You really don't know anything about us.

We have people everywhere.

BARBARA: As Bond says
at the end of Casino Royale,

he wants to go after
the hand that holds the whip.

BOND: (ON PHONE)
Mr. White? We need to talk.

- Who is this?
- (GUNSHOT)

(SCREAMS)

MENDES: It's about the world
we live in now.

And if there's ever a time for a super spy,

it's to fight an army that you can't see.

BARBARA: Someone has to
operate in the shadows.

There'll always be a need
for that kind of hero.

The name's Bond. James Bond.

I get why presidents like it.
The good guys win.

You are so wrong!

The idea that one brave person

supplied with
adequate back-up and technology

can stop something big
and bad from happening,

it's immensely reassuring to people.

BROSNAN: It's a small group of men
who have played this role now.

More men have walked on the moon.

You rooted for them
because they were survivors.

Luck is Bond's middle name.

Whoever's playing him.

The world has never seen
a film series like this.

Nothing tops James Bond.

BARBARA: The most
enduring series in history.

(LAUGHS)

World domination, that same old dream.

LUCY: The spy story to end all spy stories

was what Ian said he was going to do
and I think he jolly well did.

PEARSON: One can't
ever forget that Ian is there.

He's always a presence.

Bond did him all right.
Bond finally repaid his debt to Ian.

He did reward Ian with everlasting life.

Bond. I need you back.

I never left.

I wasn't looking

But somehow you found me

I tried to hide
from your love

Like heaven above me

The spy who loved me

Is keeping all my secrets
safe tonight

And nobody does it better

Though sometimes
I wish someone could

Nobody does it
quite the way you do

Why'd you have
to be so good?

The way that you hold me

Whenever you hold me

There's some kind
of magic inside you

That keeps me from runnin'

But just keep it comin'

How'd you learn
to do the things you do?

And nobody does it better

Makes me feel sad
for the rest

Nobody does it
half as good as you

Baby, baby

Darling, you're the best

Baby, you're the best

Baby, you're the best

Sweetheart

You're the best

Darling

You're the best

Darling

You're the best

Sweetheart

You're the best

(BOND THEME PLAYING)