MGM Home Entertainment Presents
Inside The Living Daylights Documentary.
Narrated by Patrick Macnee
Patrick Macnee: "In 1952 Ian Flemming writes 'Casino Royale' creating one of the most popular characters in fiction, James Bond. When the Bond films are produced, beginning in 1962, the character reflects the mood of the times."
Dana Broccoli - Wife of Albert R Broccoli: "It was a fantasy, and I guess most of the men sitting in the seats felt 'I could be a Bond.' Every woman probably looked at this and said 'Boy he really has a lot of woman in these films, but..he hasn't met me, I think everything would change.'
Patrick Macnee: "By the mid 80's some feel it is time for James Bond to change".
Michael G. Wilson - Producer/Co-Screenwriter: "This whole thing about becoming more monogamous, this whole idea of safe sex, so people commented about is Bond going to become a one woman man."
Patrick Macnee: "This would become the first change for 007 in a film that would re-define James Bond. With Roger Moore's retirement from the role of 007, Michael Wilson and Richard Maibaum embark on a script for the next film without knowing who will eventually play James Bond."
Michael G. Wilson: "One of the idea's that was err looked at from time to time was the possibility of exploring Bond's roots to show where he had come from, to show his background, he's always been a veteran character, he's been a fellow who is experienced. Cubby (Albert 'Cubby' Broccoli, Producer Bond Films) felt we should really look backwards."
Patrick Macnee: "Instead of creating a story which deals with Bond's beginnings. The writers returned to the source."
Michael G. Wilson: "The short story is basically the beginning of the film. Smiert Spionon that is used in the opening sequence, those words mean death to spies in Russian, come from SMERSH which is the organisation that was in the early Flemming books. An assassination organisation within Russia to err liquidate foreign spies."
Patrick Macnee: "Wilson and Maibaum make Flemming's female assassin the central character of the new story. As writing begins the part of James Bond is yet to be cast."
Michael G. Wilson: "We weren't quite sure exactly, how to go with the part, so we sort of wrote it fairly middle of the road. We didn't make it as comic as it had been with Roger."
John Glen - Director: "We were actively looking for a replacement, which is no easy task believe me."
Michael G. Wilson: "We have tested people from time to time, between films."
Anthony Waye - Production Supervisor: "Basically you've got to have a guy whose, whose, handsome, fit, right height. He has got to have humour and he has got to be hard."
Michael G. Wilson: "The first test was Sam Neill. All of us were impressed with Sam Neill and very much wanted to err use him, he had been very successful as Reilly: Ace of Spies."
Patrick Macnee: "The key member's of the Bond creative team are sold on the New Zealand born actor, except the one whose vote counts most" (which was Cubby Broccoli).
Michael G. Wilson: "Like a lot of things in life it was a close race."
Patrick Macnee: "An actor who has long been high on the list of candidates is Timothy Dalton who is first approached for 'On Her Majesty's Secret Service.'"
Dana Broccoli: "Cubby did want him, very much, he thought he would be a splendid Bond."
Timothy Dalton "I was about 24, 25 then, had a good career as a young man in films and done The Lion in Winter, Cromwell, Mary Queen of Scots, Wuthering Heights and Mr Broccoli very kindly asked me if I would be interested."
Dana Broccoli: "But when he came in for the interview, Timothy himself said 'I just think I am too young for this role.'"
Timothy Dalton: "I think Bond should be between about 35 and 40 and as a 25, 26 year old you know, it would not have been right."
Dana Broccoli: "He wasn't ready for it obviously."
Patrick Macnee: "Dalton turns the role down in 1968, but Broccoli feels he is a good choice and continues to pursue him into the 1970's and 80's."
Michael G. Wilson: "Cubby and I met Timothy Dalton on several occasions."
Timothy and Albert R. 'Cubby' Broccoli together.
Albert R.'Cubby' Broccoli - Producer: "We invited him into the studio at MGM, six or seven years ago."
Michael G. Wilson: "He seemed to have err some interesting side to him, that we thought we might be able to use and explore for a new Bond."
Patrick Macnee: "But Dalton's commitment to the film Brenda Starr means he will be unavailable when The Living Daylights begins production."
John Richardson - Special Visual Effects: "There was a desperate search on for a James Bond."
Keith Hamshere - Still Photographer: "These very famous people wanting to play James Bond."
Simon Crane - Stuntman: "What the actors had to do, is do a fight scene and also do a love scene. I obviously didn't do the love scene, I did the fight scene."
Vic Armstrong - Stunt Coordinator: "I would come in and err coordinate fights with the last three short listed actors."
Patrick Macnee: "The young actress pleased to test with one of the candidates."
Michael G. Wilson: "The first time we used Maryam d'Abo was in the test with the actors."
Timothy and Maryam on the set of The Living Daylights.
Maryam d'Abo: "I did it because umm Barbara Broccoli approached me and I said yes I will do it for a day."
Michael G. Wilson: "When she turned out as well as she did. we decided that maybe she could play the lead role."
Maryam d'Abo: "I was thrilled, it was like wow I have got a part in a movie, and it is a Czechoslovakian girl she's a cellist so I am going to be doing all these wonderful things, and my god I am in a Bond movie me!"
Patrick Macnee: "Meanwhile an actor many think is ideal for the role is coming to the end of his network television contact."
John Glen: "Someone that we had always considered was Pierce Brosnan."
Keith Hamshere: "Pierce was so keen on becoming Bond."
John Glen: "We decided err to test Pierce, and I came down here to Pinewood and we did extensive testing for three days. I cut them umm test's together presented them to Cubby and we sat in the theatre and err he slowly nodded his head."
Maryam d'Abo: "When I was cast as Kara Milovy in The Living Daylights umm at the time Pierce Brosnan was supposed to play the part.
Keith Hamshere: "When it actually happened that he (Pierce) was going to play Bond, it was wonderful he was so delighted."
Patrick Macnee: "The other roles are quickly cast Dutch actor Jeroen Krabbé is approached for the role of Koskov."
Michael G. Wilson: "We first saw him in 'Soldier of Orange' of course, where he was magnificent."
Jeroen Krabbé - General Koskov: "I had one wish which was to be in a James Bond movie, ever since, ever since I have seen the first ones, when I was 12, 13, 14."
Michael G. Wilson: "When an opportunity presented itself we offered him the role."
Patrick Macnee: "For the part of cold blooded assassin Necros, the producers hired a dancer turned actor."
Andreas Wisnewski- Necros: "I think what made it happen was really the incredible coincidence that the character I played was described exactly the way I looked."
Patrick Macnee: "Rounding out the international cast is Jo Don Baker as Brad Whitaker."
Jo Don Baker - Brad Whitaker: "Whitaker was a nut, he was a, you know, a very rich man who had his own army, he thought he was Napoleon or somebody."
Jeroen Krabbé: "All of a sudden they said no it is postponed for two weeks, because Pierce they couldn't, Pierce was doing err 'Remington Steele' and they couldn't get him out of the series."
Peter Lamont - Production Designer: "I think it was a sixty day thing for them to come up with any more episodes, and I believe on the fifty sixth day they came up with five more episodes."
Michael G. Wilson: "And the err network that he was working for wouldn't release him."
Peter Lamont: "And the edict from Cubby was that 'Remington Steele' will not be James Bond."
John Glen: "So that was the end of the deal."
Peter Lamont: "And we got into test again, and then Timothy came in."
Charles 'Jerry' Juroe - Former VP Marketing, Eon Productions, Ltd: "Cubby always remembered that Timothy Dalton was someone who in his mind could play Bond."
Maryam d'Abo: "And then they approached him again and then he said yes."
Timothy "The schedule on this Bond film was delayed, and it was delayed to the point where I became available, and I was asked again, and I was very very pleased."
Patrick Macnee: "Dalton is suddenly a very busy man, he is scheduled to begin The Living Daylights within days of finishing Brenda Starr the script is now tailored to Dalton's strengths."
Timothy "First and foremost I wanted to make him humane, he is not a superman, you can't identify with a superman."
John Glen: "We were very anxious to get back to the more hard edged Flemming type Bond, both in the story and the way Bond played the part."
Timothy and Michael G. Wilson together on the set of The Living Daylights also.
Michael G. Wilson: "He told us he was going to go back and re-read the Flemming novels to get a, so he was grounded in the character. We said that was a good idea."
Timothy: "You can always identify with James Bond of the books. He is very much a man, and a tarnished man really, you know, he is not perfect."
Michael G. Wilson: "He felt that Bond was a conflicted fellow and that you know should err appear, you know, as a subtext for the character."
John Glen: "He agreed that he wanted to play a harder kind of Bond."
Keith Hamshere: "Timothy wanted seriously to change the image quite a bit and that he wasn't necessarily this guy in a tux. He wants to be a tougher character"
Alex Mills - Director of Photography: "He was going to be James Bond, no room for laughs and jokes."
Timothy: "I wanted to capture that occasional sense of vulnerability, and I wanted to capture the spirit of Ian Flemming."
John Glen: "We were very happy with that."
Above picture is taken from the Rock of Gibraltar, and you can see a bit of the road, that Timothy came down hanging on top of the Land Rover at the beginning of The Living Daylights.
Patrick Macnee: "Filming begins on Gibraltar on September the 17th, twelve days before Dalton is scheduled to arrive for make up and wardrobe tests. Bond film veterans B.J. Worth and Jake Lombard contribute to the pre-credits parachute jump"
Jake Lombard - Aerial Stuntman: "We filmed on Gibraltar and we did a little sky diving sequence out there."
Arthur Wooster - 2nd Unit Director "Jumping out of a Hercules was relatively straight forward, it was the landing because it is very inhospitable terrain."
B.J. Worth - Aerial Stunts Arranger: "The winds were very swirly all over the Rock of Gibraltar."
Arthur Wooster: "B.J. Worth and his boys had quite a tricky job."
Jake Lombard: "They had us landing in places that were extremely hazardous, and actually a couple of them there were going to do it with a crane and lower somebody down, but we figured we could probably do it better ourselves and much much easier, and we ended up getting lucky the three landings and the three 00 Agents we did all in one day and just knocked them off boom boom boom."
Patrick Macnee: "One stunt poses problems for the film makers."
John Richardson: "We were faced with a situation about the stunt with the land rover. We decided to go out into the Mohave Desert and take a light weight land rover out there and drop it with somebody on it and see what happens."
Michael Wilson: "You can't just start dropping cars out of the sky and hope that they land safely."
John Glen: "We were planning to use a parachute so we could do take two with the land rover"
John Richardson: "We attempted it twice and on the second occasion the parachute that they put inside didn't open, it got wrapped around the land rover."
Michael Wilson: "So all we got was a land rover that looked like it had been dropped, well it was dropped from 2,000 feet."
John Richardson: "Instead of being about 6 foot high I think it was reduced to about 4 inches it was just flattened completely."
John Glen: "When it hit the ground, (John laughs) it was an absolute disaster, umm it crashed down into the Mohave Desert and err there wasn't much of it left."
The Land Rover and dummy after it had left Beachy Head.
John Richardson: "We then we reverted to plan B and we fired a land rover off of Beachy Head with an air canon and had a radio controlled rig inside it to release a parachute to pull a dummy out of the top of the land rover and then we blew it up."
Patrick Macnee: "Almost two weeks after the second unit begins filming on Gibraltar, the first unit starts shooting with Andreas Wisnewski and stunt man Bill Weston."
Andreas Wisnewski- Necros: "Ballet training helps to, to execute action scenes in so far as umm you have a certain awareness of your body. I had a big fight with Bill Weston. During the course of these three days it took to film this fight Bill fractured a finger, and I knocked him out once."
Patrick Macnee: "The next day finds the crew on location at Stonor House doubling for Bladen's Safe House."
Jeroen Krabbé - General Koskov: "The first thing I actually did was me being kidnapped from umm the estate. I liked Timothy on the spot and we had a wonderful, wonderful, wonderful time together."
Timothy Dalton: "I had in fact just come off doing a film called Brenda Starr in America which had finished on the Saturday. I had flown to England on the Sunday and started work on the Bond film on the Monday."
Jeroen Krabbé: "And he was completely jet lagged, he hardly had his, his tuxedo on and he had to do this scene."
Patrick Macnee: "Despite jet lag Dalton throws himself into the role especially when he joins the second unit on Gibraltar."
Arthur Wooster - Second Unit Director: "They sent Timothy to me and I had a message from Cubby, and from John and from Michael Wilson saying - don't damage him."
John Glen: "Very good at action Timothy and err he was a good mover, and he was very keen to do as much of his own stunt work as possible."
Timothy Dalton: "When I felt that I could do and should do the action that we see in the film, I did it."
Michael Wilson: "He was up on top of that jeep, he was on the side of it err climbed down, he did a lot of things himself."
Paul Weston - Stunt Supervisor: "I knew that he was strong enough whether he had the courage to, to hang on the top of that, and thirteen hundred feet drop down the side of the mountain."
Timothy on top of the Land Rover.
Arthur Wooster: "We got him on top of the jeep and I said 'All we want Tim is just some nice big close ups of you'. 'Oh but I can do it, I can, I can swing around you know?' I said 'Tim just want some close ups of you we don't want..' and he was so keen and he was throwing himself around, he was throwing himself off the side of the truck and my old heart was going like this."
Paul Weston: "The producers were not too happy but they umm they accepted our err judgement, and he did it safely, and he did it spectacularly, and he went down the side of that hill hanging on the top of the jeep, umm great courage."
Patrick Macnee: "A few days later in Vienna, Dalton faces a bigger challenge being introduced as the new James Bond to the world press."
Michael Wilson: "It was a mad house filled with people err from all over the world anxious to meet the new James Bond."
Maryam d'Abo: "When we arrived in Vienna, we had a huge press conference which even took over me without even thinking about it."
Jeroen Krabbé: "The press conference in Vienna for me was completely overwhelming."
Maryam d'Abo: "I think Tim sometimes had problems umm with umm the amount of exposure and the publicity."
Jeroen Krabbé: Timothy is a very shy person."
Timothy Dalton - At the press conference in Vienna: "One of the qualities, that I might share with a secret agent who works for the British Government would be their desire to keep their private life and their thoughts about it private."
Michael Wilson: "You think to yourself oh you know I'm same guy as I always was and how can this change my life, but suddenly err everything you do, you're recognised and you're underneath that microscope."
Jeroen Krabbé: "So many photographers, hundreds of photographers, so maybe it was a bit overwhelming for him."
Charles "Jerry" Juroe - Former VP Marketing EON Productions Ltd: "Media interest, the public interest in the character of James Bond was more then Timothy could consider, he knew it would be a circus but I think down deep he didn't believe it would be as bad as it was."
Patrick Macnee: "For Director John Glen shooting at Prater Park is like returning to his roots."
John Glen: "We shot in Vienna which was reminiscent in a way of one of the early films that I ever worked on in the Film Industry 'The Third Man.'"
Timothy Dalton: "It was the amusement park where Orson Wells and Joseph Cotton made 'The Third Man' and we did film a scene on the Ferris Wheel where they also filmed, so that was very nice."
Patrick Macnee: "Meanwhile back in the United States B.J. Worth and Jake Lombard had some high altitude action of their own...."
Michael G. Wilson - Producer/Co-Screenwriter: "A Director/Producer organized the umm logistics and B.J. Worth put the team together for the stunt fight."
B.J. Worth: "We had to make this 900lb sack fly."
Jake Lombard: "We built this great big fibre glass keel inside and then put bags around it, but the air would actually hit the keel and this stabilised it."
B.J. Worth: "Of course a 900lb thing to get in and out of the back of an aeroplane was a good trick, but a couple of winches, and pullies and cables and good rigging worked out well."
John Glenn: "This umm cargo net was being buffeted by winds and they were continually being slung up against the fuselage."
Jake Lombard: "I got tossed off a couple of times."
B.J. Worth: "We had safety guys that would chase us but for them to go out and catch you, and do you much good in free fall, be really lucky if they could help you out."
Jake Lombard: "Then I had to do a big swing move to get back on the back side of the bag and usually by that time I could not move, so I would just hold on and open my mouth and that was our signal to bring in the bag so the winches would then pull in the net and I would just ride there until I got close two people would come out and just haul me in, and I would lay there on the tail gate I couldn't move completely spent in my energy because of all the wind on the front of the bag."
B.J. Worth: "We built a rip cord system in the net and you had to hang on with your feet and hands on both sides of it, so the guy in the plane could pull the ripcord and then you just sort of let go and open the net up."
Jake Lombard: "The first time we did this we definitely had our adrenalin moving pretty good and we got down in position and we pulled the big cable to release them, and it was a wild ride."
Jake Lombard: "Once you let those bags out of there it got real breezy. All these bags were hitting you like at 120 miles an hour and you have to still hang on."
Jake Lombard: "When I kicked off the bad guy and tried to climb back in, Bond is just supposed to climb back up the net, in a normal fashion and climb over the tailgate. John Glen wasn't so excited back home because he wanted some more excitement, it was kind of a dull sequence, with the bag just hanging there. Well it got real undull real fast when the net started going through its wild gyrations. I thought I was going to hit my head so I tucked my head down, then I was sure I was going to hit it so I dropped my head to have my back pack hit it. I don't know how close it actually came, but I never did touch it, but I felt surely it would."
Michael G. Wilson: "I thought he was going to be hit by the tail of the airplane because it started to come up and down. It was very frightening and he got off just in time."
Jake Lombard: "It was obvious if I had stayed on any longer it was going to happen and that is why I got off when I did."
Patrick Macnee: "While Worth and Lombard complete the cargo net shot's the first unit travels to Morocco..
- End Of Part Three -
Inside The Living Daylights Doumentary To Be Continued Next Month.
I would very much like to thank Bonnie, from the States, for sending me a copy of the photograph she took on a visit to Vienna, of the Ferris Wheel at Prater Park, that I have used above.
Inside The Living Daylights Documentary To Be Continued Next Month.
You will find the Inside The Living Daylights Documentary as part of the extra's on the DVD of this project.
Inside The Living Daylights Documentary (c) Copyright Danjaq. LLC and United Artists Corporation 1987 All Rights Reserved.