007之俄罗斯之恋 From Russia with Love(EN)Subtitles

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1 00:00:04 JOHN CORK: Hello. I'm John Cork of the Ian Fleming Foundation.
2 00:00:07 Welcome to the audio commentary for From Russia with Love.
3 00:00:10 On this commentary
4 00:00:14 actors Walter Gotell
5 00:00:18 From the crew
6 00:00:22 production designer Syd Cain
7 00:00:26 special effects supervisor John Stears
8 00:00:29 and from Dana Broccoli
9 00:00:32 The stories reflect the personal recollections and opinions
10 00:00:36 of those who provided the interviews.
11 00:00:38 Some comments have been edited for time and clarity.
12 00:00:41 They are not meant to provide the definitive history of the film.
13 00:00:45 We begin with the first true pre-title sequence of the James Bond movies.
14 00:00:49 This scene was filmed on the nights of April 16th and 17th
15 00:00:55 in the Renaissance Garden at Pinewood Studios outside of London
16 00:00:59 with reshoots filmed in mid-June.
17 00:01:02 Director Terence Young
18 00:01:07 talks about how this scene came about.
19 00:01:10 TERENCE YOUNG: The producer
20 00:01:13 is a producer who is very interesting to work with because...
21 00:01:18 he has some of the worst ideas I've ever listened to
22 00:01:24 Your problem is to persuade him the bad ideas are bad
23 00:01:27 and the good ideas are good.
24 00:01:30 He had the idea of killing James Bond
25 00:01:33 before the credit titles started
26 00:01:36 He wanted to do it in a training school
27 00:01:42 Having built the set
28 00:01:46 I transported it completely into a garden
29 00:01:50 and I shot it at night
30 00:02:03 CORK: Actor Walter Gotell
31 00:02:07 appears in seven Bond films.
32 00:02:09 For six of those films
33 00:02:14 Here
34 00:02:19 WALTER GOTELL: The teaser was shot in the maze.
35 00:02:22 In the teaser
36 00:02:26 crouching about the place until he was suddenly garroted.
37 00:02:31 And as he fell
38 00:02:37 When the rushes were seen the next day
39 00:02:39 they found that the man the mask was torn off from
40 00:02:44 looked exactly like Sean Connery
41 00:02:50 YOUNG: Just shows how stupid directors are.
42 00:02:52 I had to go back and reshoot the close-up
43 00:02:54 because we got a man who looked vaguely like Sean Connery
44 00:02:58 and a lot of people thought they were taking a rubber mask off Sean Connery.
45 00:03:02 So I had to shoot a man with a mustache.
46 00:03:05 CORK: Welcome to SPECTRE Island.
47 00:03:07 The pulling-off of the mask is a great moment
48 00:03:09 which lets the audience know they are entering a strange world.
49 00:03:14 According to director Terence Young
50 00:03:18 was producer Harry Saltzman's idea.
51 00:03:20 Saltzman felt it would be interesting to see James Bond killed at the opening.
52 00:03:25 This idea became somewhat of a theme in many early Bond pre-title sequences.
53 00:03:30 In Thunderball we open with a casket draped with a shroud initialed "JB"
54 00:03:34 which turn out to be the initials of a SPECTRE agent.
55 00:03:37 In You Only Live Twice
56 00:03:42 Or so it seems. It is really a ruse to throw off Bond's enemies.
57 00:03:46 In Diamonds Are Forever
58 00:03:49 Bond kills the villain in the first few minutes
59 00:03:52 until we later find out that it was the villain's surgically-enhanced double.
60 00:03:57 In The Man with the Golden Gun...
61 00:03:59 the last film with which Harry Saltzman was involved...
62 00:04:02 we once again see a false 007
63 00:04:07 this time in the form of a mannequin in Scaramanga's fun house.
64 00:04:11 In the original script these titles were meant to open the film
65 00:04:15 but in the editing Peter Hunt and Terence Young
66 00:04:17 found they liked the idea of the teaser scene before the titles...
67 00:04:21 a concept which obviously quickly developed
68 00:04:24 into a highly anticipated part of the James Bond films.
69 00:04:28 The belly dancer
70 00:04:33 is the same person who appears in the gypsy camp sequence.
71 00:04:36 She worked under the name of Leila
72 00:04:41 Let's meet editor Peter Hunt...
73 00:04:44 a key member of the creative team of the early 007 films...
74 00:04:47 who recalls how title designer Robert Brownjohn became involved.
75 00:04:52 PETER HUNT: Brownjohn was a find of Harry's.
76 00:04:57 He was a Canadian. Harry was a Canadian.
77 00:04:59 Brownjohn had worked all the time in commercials and things like that.
78 00:05:05 It was Harry who brought him in
79 00:05:07 as something new and something brilliant and wonderful.
80 00:05:11 Brownjohn was a fun man
81 00:05:16 CORK: Another key player in the success of
82 00:05:18 From Russia with Love is composer John Barry
83 00:05:21 who is responsible for the thundering sensual sounds of this overture.
84 00:05:26 He talks about how he became involved in the film
85 00:05:28 after arranging the James Bond theme on Dr. No.
86 00:05:32 JOHN BARRY: I never saw anybody on Dr. No. I only saw Noel Rogers
87 00:05:36 who was United Artists Music. I never saw anybody from the movie.
88 00:05:40 It wasn't until From Russia with Love that Noel said
89 00:05:45 And that was the first time I met Cubby Broccoli
90 00:05:50 And though I'd had instrumental hits
91 00:05:55 I'd accompanied song hits on records
92 00:06:01 They wanted a song over the opening titles
93 00:06:04 and Lionel Bart had just written Oliver! and had a huge hit with it in the West End.
94 00:06:10 So they called Lionel Bart... and I knew Lionel...
95 00:06:12 and Lionel wrote "From Russia with Love" and I arranged it for the movie
96 00:06:17 and did the rest of the score.
97 00:06:19 It was a big hit with Matt singing it... Matt Monro.
98 00:06:24 Knight... takes bishop.
99 00:06:28 (AUDIENCE MURMURING)
100 00:06:44 CORK: This sequence takes place in Venice
101 00:06:47 but it is actually shot on a set on D Stage at Pinewood Studios.
102 00:06:51 It was filmed during the first week of shooting
103 00:06:54 and features one of production designer Syd Cain's most elaborate sets
104 00:06:58 including a marble floor which features a chessboard pattern.
105 00:07:12 The day this was shot was also the first day of rehearsals for a young actress...
106 00:07:17 Aliza Gur-who plays Vida
107 00:07:22 Gur remembers her reaction to the set.
108 00:07:27 ALIZA GUR: I remember walking with Lotte Lenya in the morning.
109 00:07:30 We both left the make-up room and walked on the set
110 00:07:33 and the two of us went "Wow!"
111 00:07:37 Lotte said to me
112 00:07:42 We were both sorry that we were not in that shot.
113 00:07:45 As a matter of fact
114 00:07:55 CORK: Aliza Gur won the role of Vida
115 00:07:57 after appearing in the short-lived musical Ramona in London's West End.
116 00:08:01 Harry Saltzman saw the play
117 00:08:04 liked Gur's performance and asked her to become part of the James Bond cast.
118 00:08:10 Terence Young pulled together a wonderful supporting cast for this film.
119 00:08:14 Here
120 00:08:19 YOUNG: Rosa Klebb was an idea I had out of the blue.
121 00:08:23 We were originally thinking of using Katina Paxinou
122 00:08:27 but there was some reason we couldn't get her-she was in a play in Athens...
123 00:08:31 and it didn't work.
124 00:08:33 So I had just been given
125 00:08:39 a disk called "River's End"
126 00:08:45 and I said "Why don't we try her?"
127 00:08:48 I had to go over and see her.
128 00:08:50 She's not a young girl at all
129 00:08:56 She said it would be terrific fun and I said
130 00:09:01 But she was delighted with the idea of doing the picture.
131 00:09:06 Kronsteen... I wanted somebody whose face would be very memorable.
132 00:09:11 Often in a picture you have a problem reminding an audience who a character is
133 00:09:17 if he only makes three or four appearances.
134 00:09:20 I stumbled by accident on this Polish actor
135 00:09:25 and he went later into a film of Russell's... Women in Love.
136 00:09:29 He's had quite a big career since From Russia with Love.
137 00:09:32 This was his first film part... he'd been an extra before.
138 00:09:36 But he had a great face. He looked intellectual enough
139 00:09:39 to be a chess champion
140 00:09:42 and
141 00:09:44 He also had one of the most distinctive
142 00:09:49 He had a great voice. One of the best voices I've ever...
143 00:09:53 He only had to come on and everybody said
144 00:09:58 CORK: This scene has a wonderful assortment of actors.
145 00:10:01 To play Blofeld
146 00:10:05 who played Professor Dent in Dr. No... to sit in the chair and pet the cat.
147 00:10:10 Actor Eric Pohlmann provided the voice of Blofeld in post-production.
148 00:10:14 Both men would repeat their roles in Thunderball two years later.
149 00:10:18 Anthony Dawson worked with Terence Young on They Were Not Divided...
150 00:10:22 a film that also introduced Young to Welsh actor Desmond Llewelyn
151 00:10:26 who we will meet later.
152 00:10:28 Dawson is best remembered for his role in Dr. No
153 00:10:31 and his performance as the shifty-eyed hired killer
154 00:10:34 in Alfred Hitchcock's 3-D masterpiece
155 00:10:38 Austrian actor Eric Pohlmann had the perfect voice for Blofeld.
156 00:10:42 By the time of From Russia with Love
157 00:10:47 He had become famous in Austria in the late 1930s for his stage work.
158 00:10:52 After the Nazis rose to power
159 00:10:55 where he worked for the BBC's Overseas Service...
160 00:10:58 a strong propaganda weapon for the Allied cause.
161 00:11:02 He can be seen in many great films of the late 1940s and '50s
162 00:11:06 including The Third Man
163 00:11:12 and a number of films produced by Albert R "Cubby" Broccoli
164 00:11:15 before he began making Bond films.
165 00:11:18 Pohlmann appeared in many London theater productions
166 00:11:21 including The Threepenny Opera
167 00:11:25 another performer famed for her memorable voice-Miss Lotte Lenya.
168 00:11:30 In 1928
169 00:11:34 debuted as Jenny in The Threepenny Opera.
170 00:11:37 She became a sensation across Germany
171 00:11:39 and her husband's royalties made the pair wealthy.
172 00:11:43 Lenya and Weill moved to New York to avoid the Nazis.
173 00:11:46 After Weill's sudden death in 1950
174 00:11:50 singing the songs of her late husband and his collaborator
175 00:11:55 For those who only know her from this film
176 00:11:57 it is hard to imagine her tremendous talent and stage presence.
177 00:12:01 She wowed audiences across the globe.
178 00:12:03 When Louis Armstrong recorded an English version
179 00:12:06 of the most famous song from The Threepenny Opera-"Mack the Knife"...
180 00:12:10 he added a new name to the list of victims of the title character's murderous temper...
181 00:12:15 Miss Lotte Lenya.
182 00:12:17 This sequence is a combination of Ian Fleming's novel
183 00:12:20 and a suggestion from Harry Saltzman.
184 00:12:23 Saltzman had seen the film Spartacus
185 00:12:25 and liked the idea of the gladiator training school.
186 00:12:28 He wanted to see SPECTRE agents training in the same brutal fashion
187 00:12:33 but updated for modern times.
188 00:12:35 The result is a wonderfully macabre set by Syd Cain
189 00:12:39 in the gardens of Pinewood Studios.
190 00:12:42 Sound engineer Norman Wanstall recalls how he added some reality
191 00:12:46 to the sound effects in this sequence.
192 00:12:48 NORMAN WANSTALL: At the training school
193 00:12:50 you hear voices and it creates an atmosphere.
194 00:12:52 Without them it's a different effect.
195 00:12:54 That's where I could add to a scene
196 00:12:57 where perhaps no one had thought of doing it before
197 00:13:00 which was something I learnt from Win Ryder
198 00:13:04 I learnt how he brought scenes alive just by having distant voices.
199 00:13:08 CORK: Peter Hunt and Terence Young play a trick here.
200 00:13:11 To make the camp look larger
201 00:13:13 they show this long shot of the actors walking into another section.
202 00:13:17 It is
203 00:13:25 The masseuse is played by actress-model Jan Williams
204 00:13:29 who appeared mainly in television comedies in England.
205 00:13:37 Let's turn to actor Robert Shaw
206 00:13:41 Although best known for his role as Quint in Jaws
207 00:13:45 and as the mark in The Sting
208 00:13:47 Robert Shaw made an equally big splash as a novelist and playwright.
209 00:13:51 In 1959
210 00:13:54 which won him acclaim and opened doors for him.
211 00:13:57 Shaw's first love
212 00:13:59 He grew up in tough circumstance. His father died
213 00:14:03 when Robert Shaw was only 12.
214 00:14:05 Shaw turned to writing and acting for comfort.
215 00:14:08 Theater provided a surrogate family
216 00:14:11 and he studied at the Royal Academy of Dramatic Art
217 00:14:13 and joined the Royal Shakespeare Company in 1949.
218 00:14:17 Shaw made a name for himself on British television
219 00:14:20 in much the same way that Sean Connery did
220 00:14:23 by appearing in short plays adapted for the BBC.
221 00:14:26 Shaw was nominated for an Academy Award
222 00:14:29 for his performance in A Man for All Seasons.
223 00:14:31 He later appeared with Sean Connery in Robin and Marian
224 00:14:35 before his untimely passing at age 50 in 1978.
225 00:14:39 In 1963
226 00:14:44 He said he preferred the financial comforts of acting and added:
227 00:14:47 "Let's face it. There are more than a hundred published novelists in England
228 00:14:52 who can't get up the price of a decent meal."
229 00:15:00 Italian model and actress Daniela Bianchi
230 00:15:03 faced tough competition for the role of Tatiana Romanova.
231 00:15:06 The producers
232 00:15:10 wanted to find a new international beauty along the lines of Ursula Andress.
233 00:15:18 Film companies would often publicize the names of actresses auditioning for a role
234 00:15:24 and publicity agents for rising actresses would try to link their clients
235 00:15:28 to roles which were not yet cast.
236 00:15:31 As a result
237 00:15:33 surrounding the casting of Tatiana Romanova.
238 00:15:36 Journalist Donald Zec even sat in on auditions in Rome
239 00:15:40 writing about auditions of actresses such as Yugoslav Sylva Koscina
240 00:15:44 Italian actress Virna Lisi... who was deemed too thin...
241 00:15:47 Annette Stroyberg... who was deemed not thin enough...
242 00:15:51 French actress Hélène Chanel and Eleonora Ruffo.
243 00:15:54 The producers announced three finalists.
244 00:15:57 Elga Andersen from Austria
245 00:16:01 and Daniela Bianchi-former runner-up in the Miss Universe competition.
246 00:16:06 Reportedly
247 00:16:13 Bianchi had been a successful model in Rome
248 00:16:15 and had done only a few Italian films before From Russia with Love.
249 00:16:19 Although she worked hard on her English skills
250 00:16:22 she... like many of the performers in the early Bond films... was revoiced.
251 00:16:26 Actress Barbara Jefford did the honors
252 00:16:29 capturing a perfect blend of Eastern European mystery and sexuality.
253 00:16:34 - I was in love. - And if you were not in love?
254 00:16:37 CORK: Let's return to editor Peter Hunt
255 00:16:39 who talks about the transition from Dr. No to From Russia with Love.
256 00:16:46 HUNT: Of course
257 00:16:50 I was right in at the beginning.
258 00:16:53 Once they'd got a script
259 00:16:58 It's a good novel
260 00:17:00 It's full of Fleming's snobbery
261 00:17:05 It's full of the right way to live and the right way to behave
262 00:17:09 and the right clothes to wear and the right food to eat
263 00:17:12 and the right wines to drink.
264 00:17:14 And all of that class stuff which
265 00:17:20 after a number of years of war and rationing
266 00:17:24 and all the problems that we had to have during our daily life
267 00:17:29 of that Second World War.
268 00:17:35 Fleming wrote for the reader. He didn't write visually
269 00:17:40 although his descriptions of places were pretty good.
270 00:17:44 Transposing any book from the book form to a shootable script is not easy.
271 00:17:52 Very few books
272 00:17:53 transpose
273 00:17:56 Some of them do it better than others
274 00:17:59 and Maibaum was a very good converter of this type of work.
275 00:18:03 And
276 00:18:09 He was one of the older... younger older writers
277 00:18:16 And he had an enormous talent and ability for transposing things
278 00:18:22 and for writing scripts and making films work.
279 00:18:26 He was like all of them-like Ben Hecht and all those wonderful old writers
280 00:18:31 that turned out those wonderful films in the '40s.
281 00:18:34 They really did have a wonderful idea
282 00:18:39 and turning out those films... romantic films...
283 00:18:43 and writing dialog and writing situations.
284 00:18:50 Sean carried on the same character
285 00:18:52 but
286 00:18:55 It became a lot better. But
287 00:18:59 Many of these series of films just collapsed after the second one
288 00:19:04 because the second was nowhere near...
289 00:19:06 Look at all the remakes. They're never as good as the first.
290 00:19:09 CORK: Now to Lois Maxwell
291 00:19:13 LOIS MAXWELL: Now
292 00:19:17 Isn't she lovely?
293 00:19:21 CORK: Lois Maxwell talks about her early career.
294 00:19:24 MAXWELL: This particular part that Eunice played...
295 00:19:27 it was so clever of Terence because they end up together
296 00:19:31 and she's in the beginning of From Russia with Love.
297 00:19:37 I was a soldier... a Canadian soldier-when I was 16
298 00:19:41 and I came to England just before Christmas of 1943.
299 00:19:47 It was a dreadful time.
300 00:19:49 I had a wonderful teacher and he encouraged me enormously
301 00:19:54 and I won verse-speaking contests and things like that.
302 00:19:59 And
303 00:20:05 to join the army show as the gag girl for Wayne and Shuster...
304 00:20:11 the famous Canadian comedians.
305 00:20:14 And they were in the army show.
306 00:20:16 And Robert Farnon... the famous composer and musician...
307 00:20:22 he was in charge of our orchestra. It was a large orchestra.
308 00:20:27 We traveled by train for nine months all over Canada.
309 00:20:32 In fact
310 00:20:35 and we played in Quebec for the famous Quebec Conference.
311 00:20:41 I was then
312 00:20:46 and I was here for about a year and a half
313 00:20:52 when the headquarters...
314 00:20:55 My unit was being sent to Italy
315 00:20:57 and somehow Headquarters found out that I was not yet 18
316 00:21:03 and I should have been about 22.
317 00:21:06 So they decided to send me back to Canada
318 00:21:11 and they sent me to this sort of holding hospital for Canadian women.
319 00:21:17 And I asked for weekend leave
320 00:21:20 and I went to London to the Royal Academy of Dramatic Art
321 00:21:24 and I told Sir Kenneth Barnes there that I didn't want to go back to Canada
322 00:21:31 I wanted to stay and go to the Academy.
323 00:21:35 So he said to come the following Wednesday and have an audition.
324 00:21:44 That meant that I had to go AWOL from the army...
325 00:21:48 that means absent without leave from the army...
326 00:21:51 which put me in a very difficult situation.
327 00:21:54 However
328 00:22:00 I had auditioned for him
329 00:22:04 There was a skit I used to do in the army show
330 00:22:08 and it was called "The Bearded Lady".
331 00:22:10 And I had a long
332 00:22:15 I love the bearded lady cos her whiskers tickle so
333 00:22:19 Her whiskers make me tickle from my head down to my toe
334 00:22:22 All this was with a sort of dance.
335 00:22:25 So at the audition
336 00:22:31 I did a very serious piece and a poem and then a comedy piece.
337 00:22:36 Then I was just about to walk offstage
338 00:22:40 when out of the darkness came Sir Kenneth's voice.
339 00:22:44 He said
340 00:22:50 (MAXWELL CHUCKLES)
341 00:22:51 So I did "The Bearded Lady" again
342 00:22:54 and I heard shrieks of laughter
343 00:22:57 and went off and sat in the office near his office.
344 00:23:04 After about an hour
345 00:23:08 "I am very pleased to tell you
346 00:23:11 that you are the first winner of the Lady Louis Mountbatten Scholarship at RADA."
347 00:23:17 So that evening
348 00:23:23 to my bedsitting room
349 00:23:25 the military police picked me up
350 00:23:28 and I was in dreadful trouble.
351 00:23:31 So I asked them if I could call Sir Kenneth Barnes
352 00:23:37 "I'm not going to be able to take the scholarship
353 00:23:41 because I've been arrested and they're going to send me back to Canada."
354 00:23:45 And I don't know to this day what he did
355 00:23:49 but I suspect that he instantly got in touch
356 00:23:53 with the Mountbatten&headquarters and told them what had happened
357 00:23:59 because it was 24 hours later that I was discharged from the Canadian Army.
358 00:24:05 CORK: One of the reasons Bond's relationship
359 00:24:06 with Moneypenny works so well
360 00:24:09 is the sense of playfulness the actors give the characters.
361 00:24:12 There is sexual tension between the pair
362 00:24:16 Terence Young and Lois Maxwell avoided all the clichés
363 00:24:20 of the lovesick secretary with glasses on
364 00:24:23 and a pencil stuck behind her ear.
365 00:24:27 The scenes between Bond and Moneypenny
366 00:24:29 are looked forward to by the fans in each 007 adventure.
367 00:24:33 A bit of trivia...the hands that were writing on the photo belonged to Terence Young.
368 00:24:39 Now James Bond is off to Istanbul.
369 00:24:42 Here
370 00:24:45 with Bond's arrival in the enemy's territory.
371 00:24:47 We see the exact same order of shots from Dr. No...
372 00:24:51 the plane landing
373 00:24:54 and a reverse tracking shot of Bond in the airport terminal.
374 00:24:58 Other details are copied as well.
375 00:25:00 Bond is met by a chauffeur
376 00:25:05 and eventually observed by another man in a car in the airport parking lot.
377 00:25:13 But Young switches things around.
378 00:25:15 In this film
379 00:25:20 In Dr. No
380 00:25:23 The man watching Bond from the car in Dr. No was Quarrel
381 00:25:26 who helps Bond infiltrate Dr. No's headquarters.
382 00:25:30 In this case
383 00:25:33 Even the figure in the background at the airport
384 00:25:36 has switched from CIA agent Felix Leiter
385 00:25:38 to a Bulgar working for the Soviets here.
386 00:25:46 Istanbul proved to be a tough location for the film crew...
387 00:25:50 two major sequences set to film in Istanbul were eventually shot in England...
388 00:25:55 but most of the members of the crew also have fond memories of the city.
389 00:26:02 Walter Gotell
390 00:26:07 recalls the extent of his visit.
391 00:26:10 That's very friendly.
392 00:26:12 GOTELL: We went to Turkey to shoot locations.
393 00:26:15 It was a lovely time to go-April.
394 00:26:18 And we settled down and I found myself taking a house in Yesilkoy
395 00:26:25 which is on the European side of Istanbul.
396 00:26:29 We were going to be there for about six weeks.
397 00:26:32 And after about three or four days
398 00:26:35 "Sorry
399 00:26:39 "We're not staying here. We're going to the northwest of Scotland."
400 00:26:44 What we found...what he found and everyone else found...
401 00:26:49 was that the helicopters found it very difficult to take off
402 00:26:54 and the speedboats just wouldn't go fast enough.
403 00:26:59 And if speed boats don't go fast enough you cannot "undercrank"
404 00:27:05 which is to speed the film up.
405 00:27:08 Because you cannot
406 00:27:13 So we packed-in in Istanbul.
407 00:27:17 CORK: Now we meet Kerim Bey...
408 00:27:18 a favorite character from the novel and the film.
409 00:27:22 Terence Young recalls Mexican actor Pedro Armendáriz who played Kerim Bey.
410 00:27:26 YOUNG: Armendáriz was a natural.
411 00:27:28 He played the Turkish military intelligence representative.
412 00:27:32 And I have to tell you en passant that he's one of the great men of my life.
413 00:27:38 I think it's one of the most tragic things that ever happened
414 00:27:43 and he is a real man in every sense of the word.
415 00:27:47 It was during this picture that he learnt that he was going to die
416 00:27:51 and he came to me and he said
417 00:27:57 "I would like to have completed this picture. Don't replace me."
418 00:28:00 We were going to get another actor.
419 00:28:03 And even John Ford... He telephoned John Ford
420 00:28:07 "For Christ's sake
421 00:28:12 "We'll shoot round him for the rest of the picture and we'll do all his scenes first."
422 00:28:17 Which we managed to do. The doctors gave me three weeks to do his scenes.
423 00:28:24 It was one of those miracles.
424 00:28:27 We were shooting the gypsy camp sequence
425 00:28:29 and I'd finished the last scene with Armendáriz
426 00:28:34 and he was walking round shaking hands with everybody
427 00:28:38 In fact
428 00:28:40 Not in the long shots... I had a double because he couldn't even walk that far...
429 00:28:45 but even in the close shots
430 00:28:48 But he was a man in every sense.
431 00:28:51 And he was walking around the cast and crew shaking hands with everybody.
432 00:28:56 He got in his car and I said
433 00:29:00 and the rain started to fall and it rained for five days.
434 00:29:04 If I hadn't had that night without rain we'd never have finished with Armendáriz.
435 00:29:08 He was a marvelous man. A dear man. I loved him.
436 00:29:11 CORK: Pedro Armendáriz's son
437 00:29:15 appeared in 1989's James Bond film
438 00:29:19 as Hector Lopez-the president of the fictional nation
439 00:29:23 For three decades
440 00:29:26 and strong masculine screen presence
441 00:29:28 made him a favorite with many top international filmmakers.
442 00:29:32 His last and personally heroic performance in From Russia with Love
443 00:29:36 would prove to be a wonderful testament to his career as an actor.
444 00:29:40 Armendáriz was born in Mexico
445 00:29:42 educated in the USA
446 00:29:46 He returned to Mexico after the 1933 declaration of amnesty
447 00:29:51 and worked for the railroad and other jobs before turning to acting in local theater.
448 00:29:56 Soon he became Mexico's best-known leading man
449 00:29:59 and a favorite of temperamental actor-director Emilio Fernández.
450 00:30:04 His acclaimed performance in Maria Candelaria
451 00:30:07 helped propel Fernández's film to win the Palme d'Or
452 00:30:10 at the first Cannes film festival in 1946.
453 00:30:15 Armendáriz worked with such great directors as John Ford and Luis Buñuel
454 00:30:19 lighting up the screen with his broad
455 00:30:24 He even starred opposite Roger Moore in the Lana Turner period film Diane
456 00:30:29 about the life and loves of Diane Poitiers.
457 00:30:32 A bit of obscure trivia.
458 00:30:34 Part of Diane's story is set at the Chateau d'Anet
459 00:30:37 which was built for her by the King of France.
460 00:30:40 The real Chateau d'Anet would feature as a location
461 00:30:43 in the James Bond film Thunderball.
462 00:30:45 Now back to Istanbul and the trials of shooting a complicated film on location.
463 00:30:51 Special effects supervisor John Stears recalls his attempt...
464 00:30:55 along with Joe Fitt and Frank George... to get a crashed helicopter as a prop.
465 00:31:00 JOHN STEARS: Quite a few things happened on From Russia with Love.
466 00:31:03 We went to Istanbul.
467 00:31:06 One thing I remember
468 00:31:08 because
469 00:31:11 We did attempt to do some of that stuff in Istanbul
470 00:31:15 but Harry told us... that's Joe Fitt
471 00:31:19 that he had made arrangements with the Turkish air force
472 00:31:23 to go to an airfield and bring a crashed helicopter back
473 00:31:29 that we could burn and make it look like the one we're using.
474 00:31:34 So
475 00:31:36 and cutting equipment
476 00:31:38 off we went to this air force base.
477 00:31:41 We got straight through the gate
478 00:31:46 Mentioned Harry's name... they didn't understand us
479 00:31:51 And
480 00:31:55 and we got out and said
481 00:31:58 So we started to dismantle this thing and put it in the back of the truck
482 00:32:03 and the next thing
483 00:32:07 I looked around and there were about 40 guys standing round us
484 00:32:10 with guns pointing at us.
485 00:32:12 So I thought
486 00:32:16 We were frog marched off into a guard room
487 00:32:21 and from the guard room we were taken to a...
488 00:32:25 I suppose it was the camp commander's office.
489 00:32:31 We were sat in chairs in front of him.
490 00:32:34 I can see it now-he's sitting there with a big eagle behind him
491 00:32:39 and the Turkish flag and the American flag.
492 00:32:43 And we were asked
493 00:32:48 I said
494 00:32:50 "We were told by Harry Saltzman that we could take a helicopter for our filming."
495 00:32:54 They said
496 00:32:59 So we explained as best we could and we were getting nowhere fast.
497 00:33:05 I could see we were in trouble this time.
498 00:33:09 Then this commander said something to this guy
499 00:33:12 and he went out of the room and the other guys went out of the room.
500 00:33:16 This guy hadn't said a word to us in English and he said
501 00:33:20 "I think I can understand the problem." He spoke perfect English.
502 00:33:24 We'd been interrogated for about two hours and he starts speaking English.
503 00:33:30 He said
504 00:33:34 but a lot of paperwork goes on here and it didn't get through from Mr. Saltzman."
505 00:33:39 "You were obviously trespassing
506 00:33:43 and you were stealing an American helicopter
507 00:33:46 and we have no right to give them to anybody
508 00:33:48 because they have to be destroyed."
509 00:33:52 "But you're very lucky
510 00:33:57 you might have spent quite a few weeks in jail."
511 00:34:02 So that was a close call.
512 00:34:04 I had visitors.
513 00:34:05 Limpet mine on the wall outside.
514 00:34:08 Timed to catch me at my desk.
515 00:34:11 CORK: Composer John Barry traveled to Istanbul
516 00:34:13 under the theory that he should listen to local music.
517 00:34:17 He visited the city with the head of United Artists Music in London-Noel Rogers.
518 00:34:21 Barry remembers the odd experiences the pair had.
519 00:34:26 BARRY: Istanbul was one of the strangest towns...
520 00:34:29 we're talking 30 years ago
521 00:34:31 It was like no place I'd ever been in my life.
522 00:34:35 I'd been in the army
523 00:34:37 It was supposedly to seep up the music
524 00:34:41 so Noel Rogers and I used to go round nightclubs and listen to all this...
525 00:34:46 (IMITATES TURKISH MUSIC)
526 00:34:48 Talk about culture shock.
527 00:34:50 Really came away with absolutely nothing except a lot of ridiculous stories.
528 00:34:56 Then went back
529 00:35:00 That was it. We used hardly anything out of that trip at all.
530 00:35:06 It was really
531 00:35:09 of no real use to the dramatic feeling of a James Bond movie.
532 00:35:16 We went to this... It was like a barn.
533 00:35:20 We were told that this gentleman appearing that night
534 00:35:23 was the biggest
535 00:35:29 And the audience was such a mixture. You get people in evening dress...
536 00:35:34 It was like a theater restaurant. It was all tables with booths and chairs.
537 00:35:40 The whole hall was this.
538 00:35:42 There would be one table with people in evening dress and another table
539 00:35:48 Shepherds just come off the fields.
540 00:35:51 This is a really weird place.
541 00:35:53 And this guy came out with this big Turkish band... singing all these songs.
542 00:36:00 Then he went off.
543 00:36:02 Then he came back on and he'd changed.
544 00:36:05 He'd now just got his trousers on and a silk shirt.
545 00:36:10 And as he went through the whole act
546 00:36:12 finally he came on as a woman.
547 00:36:16 I'm looking at Noel... "I've never seen an act like this."
548 00:36:19 And they were going crazy. This audience were going out of their minds.
549 00:36:24 By the time he came on in this big pink dress at the end
550 00:36:29 and we were just like...
551 00:36:31 "This is out of Kafka
552 00:36:35 And we walked out into the streets absolutely bewildered.
553 00:36:40 Never been to an event like that...
554 00:36:44 either before or since. It was totally unique.
555 00:36:50 He was like the young Elvis Presley of Turkey at that particular time.
556 00:36:55 Amazing.
557 00:36:58 We were told to go to this bar. They said
558 00:37:02 We went along
559 00:37:06 and we were sat there till about 9.30 - 10
560 00:37:09 and we were still the only people in this place.
561 00:37:12 It was a huge old building with this huge old oak bar
562 00:37:16 with this big brass rail screwed into the bar.
563 00:37:19 Noel and I said
564 00:37:23 And the guy behind the bar couldn't speak a word of English.
565 00:37:27 Finally I said
566 00:37:32 And I leant on this rail and the whole thing collapsed the whole length of the bar.
567 00:37:39 When I say 50 foot
568 00:37:44 This rail had been there probably 30-40 years.
569 00:37:49 The whole thing went on the floor.
570 00:37:52 About three guys came out and looked at us and looked at the bar.
571 00:37:57 I just said to Noel
572 00:38:04 We got out of the door. They didn't come after us.
573 00:38:07 It was just so bizarre. If you put that in a movie
574 00:38:12 It was like this... as I say
575 00:38:17 We were quite happy when we got on the plane to fly back to London.
576 00:38:27 I see now why you keep the Rolls.
577 00:38:30 One of my sons is driving it. With two dummies in the back.
578 00:38:33 In the opposite direction. They'll follow it for hours.
579 00:38:38 You'll like my Gypsy friends.
580 00:38:40 I use them like the Russians use the Bulgars.
581 00:38:43 It's created a blood feud between them.
582 00:38:46 CORK: Actor Pedro Armendáriz was gravely ill with cancer while filming
583 00:38:51 and died before completion of the film.
584 00:38:54 In shots like these
585 00:38:59 but Armendáriz worked diligently to complete as many shots as he could
586 00:39:04 and he arranged to re-record his dialog
587 00:39:07 before he left to go back to Los Angeles where he passed away.
588 00:39:18 (MUSIC PLAYING)
589 00:39:20 We're in the gypsy camp
590 00:39:24 near the Topkapi section of Istanbul
591 00:39:27 but it was actually shot on the back lot of Pinewood Studios
592 00:39:30 as Terence Young recalls.
593 00:39:35 YOUNG: It worked awfully well and
594 00:39:38 we had found a place like that.
595 00:39:41 I shot that eventually in the studios in England.
596 00:39:44 It was too cold
597 00:39:49 above Topkapi where the gypsies do hang out.
598 00:39:57 We auditioned a whole lot of girls.
599 00:40:00 In fact
600 00:40:06 We started with eight girls in training
601 00:40:08 and ended up with these two because they were the best.
602 00:40:11 They were the wildest-looking
603 00:40:13 and both of them had a very
604 00:40:20 Martine Beswick is half Jamaican.
605 00:40:24 Aliza Gur is Israeli.
606 00:40:27 Let's put it this way-they didn't look like white Anglo-Saxon Protestants.
607 00:40:33 We had them training for about three or four weeks
608 00:40:37 and you needed to do that.
609 00:40:39 CORK: While we watch Leila perform
610 00:40:43 who
611 00:40:46 as one of the gypsy fighting women.
612 00:40:49 GUR: Originally
613 00:40:54 and also located in Istanbul
614 00:40:57 Harry Saltzman and Cubby Broccoli decided
615 00:41:00 "Let's build a set in Pinewood and let's shoot it all in Pinewood."
616 00:41:08 CORK: Aliza recalls working with stunt arranger Peter Perkins
617 00:41:11 on choreographing the fight.
618 00:41:14 GUR: Peter took Martine Beswick and myself on three weeks' training.
619 00:41:19 We came to Pinewood Studios every day and rehearsed.
620 00:41:25 Interestingly enough
621 00:41:30 and Peter knew and admired her work.
622 00:41:33 And she came over while we were doing From Russia with Love
623 00:41:38 which
624 00:41:40 That fight
625 00:41:45 got me more publicity
626 00:41:51 than any leading role I ever had.
627 00:41:54 There is a big cult of fans
628 00:41:57 and now I'm really glad that I listened to Peter
629 00:42:00 for once we filmed it
630 00:42:04 And Martine was terrific to work with. She was just terrific.
631 00:42:08 Martine is originally from Jamaica.
632 00:42:11 When I met her
633 00:42:17 She advised me on hair
634 00:42:23 She advised me on men... whom to talk to
635 00:42:28 Once my mother arrived
636 00:42:34 She sure was a great girl.
637 00:42:37 CORK: Now we hear from Aliza Gur's combatant...
638 00:42:39 Jamaican actress Martine Beswick.
639 00:42:41 MARTINE BESWICK: We were supposed to go to Turkey
640 00:42:43 and we had everything ready...
641 00:42:44 the visas
642 00:42:47 Then they said
643 00:42:51 We were so disappointed. We spent about a week there on the back lot.
644 00:42:58 It sort of put me on the map
645 00:43:02 It really sort of started my career.
646 00:43:05 Then I got kind of serious about it and I realized I had to take some training.
647 00:43:11 As a matter of fact
648 00:43:18 and he said
649 00:43:23 "You've got to see her. She'll tell you how to bring your voice up."
650 00:43:27 And I went
651 00:43:32 He put me in touch with this wonderful woman who changed my voice...
652 00:43:36 completely changed my voice and my whole instrument and my acting.
653 00:43:41 She was very
654 00:43:46 Also
655 00:43:52 I loved Terence
656 00:43:55 He always took charge and completely took care of us
657 00:43:59 and I loved that about him
658 00:44:02 He was terribly grand and I really enjoyed being around him for that reason.
659 00:44:06 CORK: As the fight ends
660 00:44:09 Terence Young does two things with this scene.
661 00:44:12 First he creates a sense of chaos in the proceedings.
662 00:44:15 The battle is messy
663 00:44:20 But then Terence Young makes a brilliant choice.
664 00:44:23 Bond does fight
665 00:44:28 Rolling a burning wagon into two grappling men
666 00:44:33 knocking out the unsuspecting enemy agent.
667 00:44:36 What this shows us is Bond moving above the chaos...
668 00:44:39 never getting drawn into the mire.
669 00:44:41 It is a point Young makes in all of his Bond films.
670 00:44:45 007 goes for the big targets.
671 00:44:48 In Dr. No
672 00:44:52 but he doesn't have her arrested
673 00:44:57 In Thunderball
674 00:44:59 to report back to SPECTRE agent Emilio Largo.
675 00:45:02 He tells the man
676 00:45:06 Here
677 00:45:09 It is not his fight. He just helps settle it.
678 00:45:13 Now John Barry talks about this piece of music-the 007 theme.
679 00:45:17 BARRY: That was a product of...
680 00:45:21 leaning slightly more to the sense of fun of the Bond movies.
681 00:45:25 After Dr. No and then From Russia with Love
682 00:45:28 there was a sense that adventure was fun
683 00:45:31 and so I wanted to write an adventure theme that had an up feeling about it.
684 00:45:38 Because the audience caught on so quick.
685 00:45:44 Even when they went into From Russia with Love
686 00:45:47 they knew they were in for a good time.
687 00:45:50 The style had been set in Dr. No.
688 00:45:53 And the audience are very quick.
689 00:45:56 The audience are sometimes ahead of the game.
690 00:46:00 So I wanted a lighter
691 00:46:08 so the audience could sit and relax
692 00:46:11 and they started to have fun with the adventure
693 00:46:14 and they knew he was going to come out at the end of it.
694 00:46:18 So it was a little more tongue in cheek in terms of the theme than the original
695 00:46:23 and we used it on throughout a lot of the Bond movies.
696 00:46:30 It was a lighter
697 00:46:36 That was the thought behind that.
698 00:46:39 It's a very military kind of... The secret service was a very military operation.
699 00:46:44 That's where the military thing came from
700 00:46:49 It had a great driving sense too.
701 00:46:55 And then I just wrote this big
702 00:47:02 which was like a feel-good adventure theme with the trumpets and the horns
703 00:47:06 and that staccato accompaniment.
704 00:47:10 And that's how it came out.
705 00:47:14 CORK: Director Terence Young discusses John Barry's contribution.
706 00:47:19 YOUNG: When we did From Russia with Love
707 00:47:21 we brought in another composer
708 00:47:25 to write the theme song
709 00:47:27 But John Barry... that was his first dramatic score for a whole picture
710 00:47:34 and the rest is history. John is one of the most famous musicians in the business.
711 00:47:39 He's incredibly professional
712 00:47:41 has a got tremendous smell for the type of music.
713 00:47:46 I mean
714 00:47:50 and he's said
715 00:47:55 And
716 00:47:59 "I'm completely wrong and you're completely right
717 00:48:03 If I've said I want to change it he goes straight away
718 00:48:05 because he knows I'm not doing it for any ego trip or anything like that.
719 00:48:10 I think music is enormously important.
720 00:48:13 I had one of the most successful films
721 00:48:15 which had one of the most successful musical scores of all time.
722 00:48:20 It was called "The Warsaw Concerto"
723 00:48:24 I don't think there's a place in the world that hasn't heard that bit of music.
724 00:48:29 But John is a very gifted film musician.
725 00:48:32 In my opinion
726 00:48:35 He has a feeling for celluloid.
727 00:48:37 He knows where it should be and where it should not...
728 00:48:41 where music should be and where it should not be.
729 00:48:44 I think he's a very
730 00:48:49 His music... It's a funny thing. Very often
731 00:48:56 "important" scoring...
732 00:48:58 that the music is very heavy and all that... very often it can be distracting.
733 00:49:03 But in John's case
734 00:49:09 they are helpful
735 00:49:15 They certainly did in that gypsy sequence
736 00:49:18 and that battle... it was enormously effective.
737 00:49:22 It was a long stretch of music running about eight minutes. Very
738 00:49:27 CORK: Production designer Syd Cain created the sets for From Russia with Love.
739 00:49:31 He had worked as Ken Adam's art director on Dr. No.
740 00:49:34 Here he tells a wonderful story about Harry Saltzman in Istanbul.
741 00:49:39 SYD CAIN: We were filming out in Turkey
742 00:49:46 And in the evening
743 00:49:50 because I'm a teetotaler
744 00:49:54 There's a jeweler's shop underneath the Hilton
745 00:49:57 and I was there one evening looking for a present for my wife
746 00:50:00 when a voice said
747 00:50:05 I said
748 00:50:09 In this shop there was a long glass showcase with jewelry in.
749 00:50:18 And I was down this end
750 00:50:21 and it went up in price as you went along.
751 00:50:25 Harry said
752 00:50:27 I said
753 00:50:31 I was getting about ¡ê55 a week then.
754 00:50:35 He brought a ring and he said
755 00:50:38 It was a beautiful ring. It was what they call a harem ring.
756 00:50:43 It was gold and enamel with rubies.
757 00:50:47 So I said
758 00:50:51 Anyway
759 00:50:53 I go back to my room
760 00:50:57 and there's this ring by my bed.
761 00:51:01 I felt terribly embarrassed.
762 00:51:03 The following morning I said to Stanley Sopel
763 00:51:09 "Stanley
764 00:51:14 So I go and see Harry and he said
765 00:51:19 I say
766 00:51:21 "It's very
767 00:51:26 but my wife would know immediately I couldn't afford that."
768 00:51:31 He said
769 00:51:34 "You give it to your wife from me for allowing you to come on location
770 00:51:41 and bring her out for a fortnight on the firm."
771 00:51:44 And that was Harry. She's still got the ring. It's beautiful.
772 00:51:48 Harry was very generous. I liked him
773 00:51:53 CORK: This scene
774 00:51:57 is very similar to Fleming's novel.
775 00:51:59 Even much of the dialog is unchanged.
776 00:52:02 But production designer Syd Cain
777 00:52:06 and director Terence Young created a mood of seduction
778 00:52:09 by the use of gauzy curtains
779 00:52:14 and a palpable sexual tension between the actors.
780 00:52:18 This theme of a female spy sent to seduce a man
781 00:52:21 has been touched on since biblical writings about Samson...
782 00:52:24 the Old Testament hero and Israelite judge who battled the Philistines.
783 00:52:29 Unfortunately
784 00:52:34 who discovered the secret of his strength
785 00:52:38 and reduced him to a blind slave before he found vengeance and salvation.
786 00:52:43 In World War One
787 00:52:47 and selling their secrets... costing lives on the battlefield.
788 00:52:51 Alfred Hitchcock explored the inner life of the female spy
789 00:52:55 who is asked to seduce the enemy.
790 00:52:57 He came up with a classic tale of soul erosion and salvation in Notorious
791 00:53:02 where a loose woman
792 00:53:07 to pay for her father's sins.
793 00:53:09 In From Russia with Love
794 00:53:13 The seductress herself gets seduced.
795 00:53:16 Fleming plays with the sexuality of the task
796 00:53:19 and the fantasy of strangers meeting
797 00:53:21 who already know they are scripted by their governments to sleep together.
798 00:53:26 Neither Fleming nor the filmmakers allow Tatiana...
799 00:53:29 or Tania
800 00:53:31 to be in on the full scope of the plot and thus she is not linked to the villains.
801 00:53:36 She is an innocent
802 00:53:40 From the very beginning
803 00:53:43 the audience understands that James Bond has nothing to fear from her.
804 00:53:48 She is just a pawn.
805 00:53:50 Indeed
806 00:53:54 Bond must bring her back to the West
807 00:53:56 for there to be a satisfactory conclusion to the story.
808 00:54:00 In emotional terms
809 00:54:03 She is the maiden who is tormented by Rosa Klebb's fiery-haired dragon.
810 00:54:08 Bond must do more than bed her. He must win her over.
811 00:54:11 Let's return to James Bond's creator
812 00:54:15 who visited the location in Istanbul.
813 00:54:17 Fleming had a wonderful trip
814 00:54:19 and enjoyed spending time with the cast and crew.
815 00:54:23 One person he got to know was Cubby Broccoli's wife.
816 00:54:26 Dana Broccoli recalls spending time with Ian Fleming in Istanbul
817 00:54:30 and a memorable dinner with Harry Saltzman on his last night in the city.
818 00:54:36 DANA BROCCOLI: Ian was there during the filming
819 00:54:39 and we were both great sightseers
820 00:54:43 into the markets and the mosques
821 00:54:49 It was Ian's last night in Istanbul and he was very tired.
822 00:54:54 He really wanted to stay in the hotel with us and have dinner
823 00:54:58 but we were giving this company dinner at a restaurant just outside the hotel
824 00:55:06 and we talked Ian into coming along.
825 00:55:10 He said
826 00:55:14 When we got there
827 00:55:18 and a German wedding going on at the next table.
828 00:55:22 And Harry had this wonderful thing of ordering food for everybody
829 00:55:28 and if he didn't like what he got
830 00:55:32 So Ian was there
831 00:55:35 and food was coming in from every angle
832 00:55:37 and he held his head and he said
833 00:55:41 "I'm tired and this is noisy and it's..."
834 00:55:45 So Cubby said
835 00:55:49 He said
836 00:55:55 He took the next half-hour trying to describe a Spanish omelet to the waiter.
837 00:56:01 GUIDE: We are now approaching the most interesting corner of Saint Sophia.
838 00:56:06 Including these two great
839 00:56:09 red porphyry columns
840 00:56:13 CORK: Editor Peter Hunt's skills are quite evident in this scene.
841 00:56:17 Hunt worked with the first three actors to play James Bond.
842 00:56:20 He edited the first five Bond films
843 00:56:23 and was second unit director on You Only Live Twice.
844 00:56:26 He then directed George Lazenby's sole Bond film
845 00:56:29 On Her Majesty's Secret Service.
846 00:56:32 After On Her Majesty's Secret Service
847 00:56:35 Hunt went on to direct Roger Moore in the television series
848 00:56:39 and then in Gold and Shout at the Devil... two films he made in the 1970s.
849 00:56:45 He directed two films with Lee Marvin... Shout at the Devil and Death Hunt.
850 00:56:50 He worked with Terence Young again on The Jigsaw Man in the mid-1980s
851 00:56:55 and then returned to editing for the Michael Cimino thriller
852 00:57:02 GUIDE: ...the Saint Sophia wishing column.
853 00:57:04 Tens of thousands...
854 00:57:05 CORK: Editor Peter Hunt talks about the elements
855 00:57:08 which make this sequence a success.
856 00:57:15 HUNT: The sound was the sound of the mosque... you know?
857 00:57:21 That whole commentary of the guide
858 00:57:25 who was going round behind the whole scene-moving around...
859 00:57:30 that was actual
860 00:57:34 John Mitchell was the sound man and he shot it in the mosque like that
861 00:57:39 and it was wonderful.
862 00:57:41 Of course
863 00:57:45 John Barry's music behind that was remarkable and worked so well.
864 00:57:51 A wonderful instance of what a film musician can do for a scene.
865 00:57:55 CORK: Legendary composer John Barry had been a band leader for a number of years
866 00:58:00 with the group
867 00:58:02 From Russia with Love was one of his early film scores.
868 00:58:05 Here he discusses how he shaped the music.
869 00:58:08 JOHN BARRY: The actual content of the music
870 00:58:11 was not based on the Turkish scale... that chromatic scale.
871 00:58:18 It was based on Western musical structure.
872 00:58:22 And it was purely the instrumentation
873 00:58:26 that gave it the slightly exotic kind of feel of Istanbul.
874 00:58:32 The finger cymbals and the cymbaloms and things like that.
875 00:58:37 It was really like salt and pepper.
876 00:58:40 It was like the dressing... the condiments of the orchestra.
877 00:58:44 The orchestra was a full-blooded traditional English symphony orchestra
878 00:58:50 with these colors added to it that gave it that Turkish feeling.
879 00:58:56 But it really was no more than that.
880 00:58:58 CORK: Norman Wanstall helped create
881 00:59:00 the other end of the spectrum of sounds.
882 00:59:04 Although sound is recorded on location
883 00:59:06 Wanstall was responsible for replacing most location sounds with sound effects.
884 00:59:11 He talks about the difference between From Russia with Love and Dr. No.
885 00:59:16 WANSTALL: The thing about moving on to
886 00:59:18 Russia with Love was that I wasn't questioned so often
887 00:59:21 because recording theaters are very expensive
888 00:59:25 and people were saying to me
889 00:59:29 "You're spending time creating all these sounds. We don't have the money."
890 00:59:34 "So can you cool it? Can you stop doing it?"
891 00:59:38 That was frustrating
892 00:59:40 because I knew it was the best way to approach the picture...
893 00:59:43 to get important sounds created early on.
894 00:59:47 As we moved on to Russia with Love
895 00:59:50 we were established. We'd made our reputations.
896 00:59:53 We were trusted that we weren't wasting money
897 00:59:56 and that we were trying to make Bond films as dramatic as we possibly could.
898 01:00:02 I went on to Russia feeling a lot more confident
899 01:00:06 that I wasn't going to be questioned as to whether we had to watch the pennies.
900 01:00:12 It wasn't a big budget picture
901 01:00:14 but I don't seem to remember that I had so many times
902 01:00:18 when I felt I wanted to go and spend people's money.
903 01:00:21 What did happen with the films was that you could go to the production manager
904 01:00:26 and ask for the most outrageous facilities and they never questioned it.
905 01:00:33 CORK: This material in Istanbul comes from the fertile imagination
906 01:00:36 of the filmmaking team.
907 01:00:39 In Fleming's novel
908 01:00:42 then the pair leave the next morning on the Orient Express.
909 01:00:45 The filmmakers have Bond and Tatiana together
910 01:00:49 They only meet furtively in public places
911 01:00:54 First
912 01:00:57 and creating obstacles to that end makes the audience even more eager.
913 01:01:02 Second
914 01:01:07 The suspense is based on whether she will succeed.
915 01:01:11 Richard Maibaum creates more suspense
916 01:01:13 by having Kerim Bey constantly question Tatiana's true motivation.
917 01:01:17 And Tatiana herself is torn between her fear of Klebb and her interest in Bond.
918 01:01:23 This dramatic separation presents an opportunity to the filmmakers
919 01:01:27 to utilize the scenic locations in Istanbul
920 01:01:30 by creating sequences in the St Sophia mosque
921 01:01:34 this scene on the Bosporus ferry
922 01:01:36 and the stealing of the Lektor decoder from the bowels of the Russian Embassy.
923 01:01:40 Each of these scenes allows the opportunity for the filmmakers
924 01:01:44 not only to create suspense and dramatic tension
925 01:01:47 but also to give the audience a look at the more exotic parts of Istanbul.
926 01:01:52 Terence Young has also taken great care to make certain
927 01:01:56 that Sean Connery looks as attractive as any other element in the film.
928 01:02:01 Connery was outfitted with eight suits
929 01:02:05 and a full evening suit for the opening sequence...
930 01:02:08 all tailored by Anthony Sinclair of Savile Row.
931 01:02:11 In 1963
932 01:02:16 Connery's bespoke shirts were produced by Turnbull & Asser
933 01:02:20 at a cost of$30 each.
934 01:02:22 At the time of this recording
935 01:02:28 and the shirts$200 apiece.
936 01:02:31 Such is the price of elegance.
937 01:02:33 James Bond is now about to steal the Lektor decoder from the Soviet Embassy.
938 01:02:37 In the novel
939 01:02:42 Tania delivers it to him.
940 01:02:44 The filmmakers return to "St George versus the dragon"
941 01:02:48 so that Bond rescues Tania.
942 01:02:50 The pair escape through the tunnels
943 01:02:55 one of the most vivid moments from Fleming's novel.
944 01:02:59 In chapter 16 of the novel From Russia with Love
945 01:03:02 Kerim Bey shows Bond how he uses the tunnels
946 01:03:05 of the city's 80 underground cisterns
947 01:03:08 to get beneath the Russian Embassy where Kerim has a periscope installed.
948 01:03:13 The scene is recreated in the film
949 01:03:16 but the element which makes the reader's skin crawl-the rats...
950 01:03:20 is saved for Bond and Tania's escape with the Lektor.
951 01:03:23 In the novel
952 01:03:27 they force thousands of rats up the tunnel ahead
953 01:03:31 and then when they reach the alcove beneath the embassy
954 01:03:35 they watch the rats swarm back down the tunnel by the thousands.
955 01:03:39 It is one of Ian Fleming's more vivid passages.
956 01:03:43 The filmmakers used the explosion beneath the embassy as the motivation
957 01:03:47 for the rats to swarm in the movie
958 01:03:49 but creating the effect proved more complicated
959 01:03:52 than the filmmakers could have possibly imagined-as Syd Cain remembers.
960 01:03:58 CAIN: We weren't allowed to use real wild rats in England
961 01:04:02 so I got white rats and we covered them in cocoa...
962 01:04:06 darkened them down with cocoa.
963 01:04:08 But the heat of the lamps made them very lethargic
964 01:04:14 and they just used to sit and lick this cocoa off.
965 01:04:17 So we had brown-and-white rats
966 01:04:22 So I went to Spain and found a warehouse
967 01:04:26 and we were allowed there to use real rats from the sewerage.
968 01:04:30 Horrible things-all moth-eaten. Huge things.
969 01:04:34 So I built a glass cage for the camera crew
970 01:04:38 obviously
971 01:04:42 We blocked as many holes as we could to stop them escaping.
972 01:04:48 And I built the set in the warehouse.
973 01:04:51 The rat-catcher let about 200 rats free and they came pouring round.
974 01:04:57 That was all right for take one. Then they wanted a take two.
975 01:05:01 We got our shot and then they all escaped.
976 01:05:04 It was mayhem. I can't tell you.
977 01:05:06 Cubby was the first one up the steps.
978 01:05:09 He was up some steps first. He beat me by a short head.
979 01:05:13 And we were hanging on to everything with these bloody great rats chasing us.
980 01:05:18 So that was quite an exciting sequence
981 01:05:22 CORK: Even catching the rats proved to be an adventure.
982 01:05:26 First
983 01:05:29 for each rat he could catch.
984 01:05:31 Soon
985 01:05:36 As Syd Cain relates
986 01:05:40 and the filmmakers decided to shoot the scene in Spain.
987 01:05:43 They hired one Pedro Vidal to supply the rats.
988 01:05:47 Mr. Vidal went to the Madrid sanitation department...
989 01:05:50 as he related in interviews during the film's release.
990 01:05:53 Sanitation workers placed 15-gallon wine casks in the Madrid sewers.
991 01:05:59 They would bait the casks
992 01:06:01 and each morning huge sewer rats would be found inside
993 01:06:04 unable to climb up the slick glass walls.
994 01:06:07 Publicity materials bragged that the rats were "ferocious and disease-ridden
995 01:06:13 and sometimes they were growing as large as house cats."
996 01:06:17 Eventually
997 01:06:21 In 1963
998 01:06:24 He said "I have never done a job I hated more. Rats give me the creeps."
999 01:06:31 One of the big problems in Istanbul can be seen in this shot-the huge crowds.
1000 01:06:37 Terence Young talks about the challenge of shooting
1001 01:06:40 when the film crew becomes a tourist attraction.
1002 01:06:43 YOUNG: We were shooting in the main square
1003 01:06:45 and we had 12
1004 01:06:47 There were 400 policemen
1005 01:06:52 The only way we were able to shoot
1006 01:06:56 was we faked another sequence with two stunt men
1007 01:07:01 climbing out of an eighth-story window on a rope
1008 01:07:05 while they were being filmed.
1009 01:07:07 While everybody watched them
1010 01:07:10 CORK: If you're quick
1011 01:07:15 in the window just in front of Robert Shaw.
1012 01:07:25 We are aboard the Orient Express...
1013 01:07:27 one of the great trains of Europe.
1014 01:07:29 In its heyday
1015 01:07:32 from Istanbul to Belgrade
1016 01:07:39 The train was immortalized by Graham Greene
1017 01:07:42 in his 1932 novel Orient Express
1018 01:07:44 and by Agatha Christie in her 1934 classic mystery
1019 01:07:50 which was later renamed Murder on the Orient Express.
1020 01:07:54 Sean Connery also starred in the film version of the Agatha Christie novel.
1021 01:07:59 The Orient Express itself connected Paris and Istanbul from 1883 to 1977
1022 01:08:05 when the line was closed due to declining business.
1023 01:08:08 Eventually
1024 01:08:12 and the trains were reintroduced as the Venice-Simplon Orient Express...
1025 01:08:16 open to the tourist trade as a first-class rail travel adventure
1026 01:08:21 with formal black-tie dinners and service from London or Paris to Venice.
1027 01:08:26 These interiors were recreated on sound stages at Pinewood Studios by Syd Cain.
1028 01:08:31 Cain recalls going to France to examine the train itself.
1029 01:08:34 CAIN: I went to France to copy the inside of the real thing
1030 01:08:39 and I was drawing away and measuring
1031 01:08:41 and the bloody train started to move off and I was in it.
1032 01:08:46 I had to go miles up the track before I could get back again.
1033 01:08:49 That's how we did it. I thought it looked quite good. I was quite pleased with it.
1034 01:08:55 The original one was a bit tatty for filming.
1035 01:08:59 We painted it slightly better
1036 01:09:06 CORK: Syd Cain is one of the great English production designers
1037 01:09:09 although that is a title he never fully embraced.
1038 01:09:12 He was in the air force during World War Two
1039 01:09:17 and Cain suffered a broken back and two broken legs.
1040 01:09:21 Cain recovered from those injuries and was then promptly struck by lightning.
1041 01:09:26 He was assigned to ground duty where he was first introduced to the film industry.
1042 01:09:31 CAIN: I was in charge of flying control in Tangmere in England in 1944...
1043 01:09:37 after my accident and so forth
1044 01:09:40 and a couple of chaps came from the film industry.
1045 01:09:44 They wanted to photograph the inside of flying control...
1046 01:09:48 they were making a film.
1047 01:09:51 I said
1048 01:09:54 but I'll do you a quick plan and elevation."
1049 01:09:58 They said
1050 01:10:03 So I knocked out this quick plan and elevation for them
1051 01:10:07 and I got interested in the film business.
1052 01:10:13 I didn't realize they had draughtsmen in the film business.
1053 01:10:19 When I gave them this
1054 01:10:25 "When you come out of the RAE
1055 01:10:29 And two weeks later I got my medical discharge.
1056 01:10:33 So I thought about this film business thing and lwentto Ealing
1057 01:10:36 and I saw a chap called Hal Mason.
1058 01:10:41 He gave me a list of studio managers...
1059 01:10:45 and one of them happened to be a friend of mine from school days.
1060 01:10:51 Albert Fennell
1061 01:10:55 Anyway
1062 01:11:00 and he said
1063 01:11:05 He said
1064 01:11:08 The only thing I could do was draw.
1065 01:11:11 So I came into the art department.
1066 01:11:15 And that's it... 1944.
1067 01:11:19 And from then on
1068 01:11:25 then I became chief draughtsman and assistant art director
1069 01:11:31 and I rose to the dizzy heights of art director
1070 01:11:35 and production designer. That's how it all happened.
1071 01:11:39 CORK: Cain went on to work with many of the great directors.
1072 01:11:42 He worked with Stanley Kubrick on Lolita
1073 01:11:48 and Alfred Hitchcock on Frenzy.
1074 01:11:50 When Peter Hunt came to direct On Her Majesty's Secret Service
1075 01:11:53 he chose Syd Cain to do the production design
1076 01:11:56 and then worked with Cain on the Roger Moore films
1077 01:12:01 Hunt discusses Syd Cain's work.
1078 01:12:03 HUNT: Hewasavery good production designer.
1079 01:12:05 Different personality to Ken Adam.
1080 01:12:09 Ken Adam is a flamboyant and grand type of production designer
1081 01:12:15 but Syd Cain is a quiet
1082 01:12:20 with a very good imagination
1083 01:12:23 and a very good concept of the film problems.
1084 01:12:28 He's got a sense of humor
1085 01:12:31 Production designer means that he designs not only all the sets
1086 01:12:35 but the costumes and the color... it incorporates the whole thing.
1087 01:12:40 In From Russia with Love
1088 01:12:44 You don't have to balance it with a lot of fantastic sets
1089 01:12:48 or incredible..
1090 01:12:54 It needed very good
1091 01:12:56 A train
1092 01:13:01 the nicest part of all the towns that you went along.
1093 01:13:04 So you didn't require great big fantastic sets for it.
1094 01:13:10 CORK: Back to Syd Cain.
1095 01:13:12 CAIN: To be quite serious
1096 01:13:15 with the costume designer.
1097 01:13:20 I say
1098 01:13:23 If she's going to wear green
1099 01:13:27 I mean
1100 01:13:31 and people see it and say
1101 01:13:36 They don't remember who was in it
1102 01:13:40 You must design the set to give you an atmosphere for the characters.
1103 01:13:46 They come first. I say to my friends
1104 01:13:52 And they say
1105 01:13:57 They get embarrassed because they can't remember and I say
1106 01:14:01 "If you don't remember
1107 01:14:05 So that's how I arrived at the various colors.
1108 01:14:11 I've got what they call a cold eye.
1109 01:14:14 A lot of my colors
1110 01:14:17 Blues and greens and yellows and things like that.
1111 01:14:23 I enjoyed working with Terence. I thought he was terrific.
1112 01:14:27 I thought
1113 01:14:29 He's very elegant and had all the Bond characteristics
1114 01:14:34 and l think he put this into the original Bond
1115 01:14:41 And great to work with
1116 01:14:44 Always ready to accept any ideas.
1117 01:14:49 He used to say
1118 01:14:55 which I want remembered... later."
1119 01:15:00 I liked Cubby. Everybody liked Cubby
1120 01:15:04 When we did Dr. No...
1121 01:15:08 I was the art director. I wasn't the production designer-that was Ken Adam.
1122 01:15:12 But I was the art director and I did the locations.
1123 01:15:17 When it came to the credits
1124 01:15:19 dear old whatshisname left my name off the credits accidentally.
1125 01:15:25 Cubby said
1126 01:15:30 so I said
1127 01:15:32 So he gave me a gold pen... a solid gold pen-in lieu of a credit.
1128 01:15:38 That was Cubby. He was Aries
1129 01:15:42 Same as me. He was Aries. So we got on well.
1130 01:16:17 CORK: We are in one of the most dramatically interesting points
1131 01:16:21 in any James Bond film.
1132 01:16:23 Here
1133 01:16:28 Young lets the actors play out their emotions.
1134 01:16:31 Connery reveals Bond's barely controlled anger in layers.
1135 01:16:35 Faux patience.
1136 01:16:39 Bitterness.
1137 01:16:44 You're doing this under orders
1138 01:16:47 - I don't know what you mean. - Liar!
1139 01:16:49 CORK: And an ultimate explosion of violence.
1140 01:16:52 Daniela Bianchi plays Tania's fear and confusion with conviction.
1141 01:16:56 It is a risky scene to let the two leads fight this viciously this late in the film
1142 01:17:01 but the violence
1143 01:17:03 and the resignation of Bond that he can neither trust Tania nor get rid of her
1144 01:17:08 makes the scene palpably real.
1145 01:17:10 For the viewer
1146 01:17:15 that
1147 01:17:19 Director Young handles the dramatics with skill
1148 01:17:22 and the performances pay off for him
1149 01:17:24 as he has a great visual moment coming up which acts as punctuation.
1150 01:17:29 Note that all of what the audience is seeing
1151 01:17:32 has been laid out clearly by the filmmakers.
1152 01:17:34 At the beginning
1153 01:17:39 outlining SPECTRE's plans step by step.
1154 01:17:41 We know who killed the Russian in the mosque
1155 01:17:44 who killed the Bulgar following Bond and who killed Kerim Bey.
1156 01:17:48 Terence Young has held nothing back
1157 01:17:50 and thus creates the maximum dramatic suspense.
1158 01:17:54 The audience knows why everything up until now has happened.
1159 01:17:57 We just don't know what is going to happen next.
1160 01:18:00 Now we see Terence Young's chilling punctuation to the previous scene...
1161 01:18:04 the cool
1162 01:18:08 007's every move is watched
1163 01:18:14 who now stalks the real Bond as he stalked the impostor Bond in the opening.
1164 01:18:20 The visual also serves another purpose.
1165 01:18:22 It explains that the conflict between Bond and Tania is manufactured by Grant.
1166 01:18:28 It reminds the viewer that they are really allies against SPECTRE.
1167 01:18:32 Now to dubbing editor Norman Wanstall
1168 01:18:37 WANSTALL: As in practically all train sequences in movies...
1169 01:18:41 and the audience very rarely realize it... invariably it's a built set.
1170 01:18:46 A lot of the stuff in Russia with Love was a built set.
1171 01:18:49 The soundtracks were from sound effects libraries
1172 01:18:53 and it's quite tricky to get plenty of variation.
1173 01:18:56 It's very easy to become monotonous when you're doing train sounds.
1174 01:19:01 I remember this was one of the facilities we had on the dubbing desk
1175 01:19:05 where they could produce sound that I could never do in the editing room.
1176 01:19:09 The problem is that you're traveling in one part of the train
1177 01:19:13 but you move outside the carriage and you know that the sound would change.
1178 01:19:19 So do you find another soundtrack
1179 01:19:23 with a rattle that sounds different?
1180 01:19:26 But Gordon McCallum said
1181 01:19:31 "Cue where we cut to the outside and to the inside
1182 01:19:35 and I will swing in my facilities and we'll change the nature of the sound."
1183 01:19:40 And that was a tremendous help to me.
1184 01:19:43 I battled to think how I could get the difference between the inside and outside.
1185 01:19:48 I don't mean the inside and outside of the train.
1186 01:19:50 I mean the inside of the carriage and the inside of the corridor.
1187 01:19:54 What he did was he just swung in top or took out the bass as we went across
1188 01:20:00 and produced a constant flow of rattle.
1189 01:20:04 CORK: Wanstall's first visit to a film set was
1190 01:20:07 during the shooting of Hell Below Zero
1191 01:20:09 which was produced by Cubby Broccoli.
1192 01:20:11 WANSTALL: We're going back a lot of years now
1193 01:20:14 but the film industry in Britain was a studio system.
1194 01:20:17 People joined a studio like any other company
1195 01:20:20 and you stayed. You would have a contract for about three years.
1196 01:20:24 I knew a lady who was the mother of a very close school friend of mine
1197 01:20:28 and she showed us round the studio for one day.
1198 01:20:32 I was only 14 and we saw pictures of stars all round the walls
1199 01:20:36 and all the girls were dressed very cool and the whole thing was magic.
1200 01:20:42 We went on a set to...
1201 01:20:45 Actually
1202 01:20:50 I remember going into this vast stage which was pitch black
1203 01:20:54 and in the far corner you could see this very tiny bead of light.
1204 01:20:58 We crept towards it
1205 01:21:00 and the nearer you got you realized it was actually a replica of the cabin of a ship.
1206 01:21:06 There was no way a lay person would believe that it wasn't a real cabin.
1207 01:21:11 But as soon as we crept round the back it was all full of scaffold poles
1208 01:21:15 and timber and plywood.
1209 01:21:18 And us kids realized that movie-making is just magic-it's all make-believe.
1210 01:21:23 We were completely and utterly captivated by the whole atmosphere.
1211 01:21:27 And when I finished my national service
1212 01:21:30 I thought
1213 01:21:33 to be in a movie studio and take part in some way?"
1214 01:21:38 So I contacted this lady and she remembered me
1215 01:21:41 and she said
1216 01:21:45 But I always imagined I was going to be on a set.
1217 01:21:48 I always imagined I'd be a cameraman or sit in a chair with my name on the back.
1218 01:21:53 When they put me into an editing room
1219 01:21:58 I really didn't know what the editor was doing.
1220 01:22:01 Very few people do understand what an editor does.
1221 01:22:04 Most people think that an editor cuts the bad bits out.
1222 01:22:08 They don't realize that you have to build a film from all the different shots.
1223 01:22:12 But as I realized what we were doing
1224 01:22:17 and totally overcome by the whole job.
1225 01:22:20 They put me under contract for three years
1226 01:22:23 and when the contract was over
1227 01:22:26 I had a chance to go with probably the most famous soundtrack editor
1228 01:22:30 we've ever had in this country... a man called Winston Ryder.
1229 01:22:34 He was freelance whereas most people were permanently employed.
1230 01:22:39 He worked on Lawrence of Arabia and Bridge on the River Kwai.
1231 01:22:44 The biggest movies were his.
1232 01:22:46 And I had a chance to be his assistant on the sound side.
1233 01:22:50 So rather than renew the contract
1234 01:22:55 and they were all very large ones and I learnt a lot from him.
1235 01:22:59 I suppose that was the basis of my knowledge for the future.
1236 01:23:03 So when I had a chance to... When I had a break
1237 01:23:07 I had to fall back on all I'd learnt from him.
1238 01:23:11 He was a good teacher.
1239 01:23:13 CORK: A few bits of trivia about what we've just seen.
1240 01:23:16 The man Grant escorts into the men's room and murders is played by Bill Hill...
1241 01:23:21 the production manager of From Russia with Love.
1242 01:23:24 Sirkeci Station in Istanbul doubles for both Zagreb station and Sofia station
1243 01:23:29 and the scenes were shot on May 1st
1244 01:23:33 Note that Robert Shaw's character
1245 01:23:36 does not speak in the film until he's aboard the Orient Express.
1246 01:23:41 Editor Peter Hunt recalls Robert Shaw
1247 01:23:43 and building the tension surrounding this meeting.
1248 01:23:46 HUNT: I knew Robert Shaw when we used to bring him down
1249 01:23:49 to play opposite actresses for tests and things like that.
1250 01:23:54 Robert Shaw and I go back right to the early training days
1251 01:23:58 of what was called Group Three
1252 01:24:02 He was a stage man
1253 01:24:06 And great. He was a great piece of casting for From Russia with Love.
1254 01:24:12 He really was. He and Lotte Lenya were very good.
1255 01:24:15 I used to coach him with his dialog on From Russia with Love.
1256 01:24:19 Only to listen to him. He needed somebody to listen to him.
1257 01:24:23 In fact
1258 01:24:28 when I'd seen it and got it together...
1259 01:24:31 that we didn't hear his voice and that he spoke imitating another spy...
1260 01:24:39 on the train.
1261 01:24:41 You see him talk and I put lots of train noise over it
1262 01:24:45 so there was a good reason why you never heard it.
1263 01:24:48 And the steam came out from underneath the train.
1264 01:24:52 So it meant that the first time you actually heard him
1265 01:24:55 was when he got together with Bond.
1266 01:25:01 You never heard him in the training centre when she whacks him in the stomach.
1267 01:25:07 He never says anything.
1268 01:25:10 CORK: Peter Hunt discusses his background in the film industry.
1269 01:25:14 HUNT: I grew up in London... in the East End of London...
1270 01:25:18 and I went to what is called an English grammar school at Brentwood.
1271 01:25:26 I was always very keen on cinema and what have you.
1272 01:25:28 Various members of my family were connected with the theater in London.
1273 01:25:33 And an uncle of mine
1274 01:25:40 we called him an uncle... was a cameraman.
1275 01:25:43 At one time he was here in California and was a cameraman with MGM.
1276 01:25:48 And he had a laboratory and a documentary company in London
1277 01:25:54 which I used to like to get into when I was on school holidays.
1278 01:25:59 I liked him and used to talk to him
1279 01:26:01 and that was really how my professional interest came about in the cinema.
1280 01:26:07 I adored the cinema as a kid anyway.
1281 01:26:10 I was never allowed to see as many films as I wanted to see.
1282 01:26:14 So when the war came
1283 01:26:19 3rd September
1284 01:26:23 chaos really reigned in England
1285 01:26:26 Kids were evacuated because we all thought we were going to be bombed.
1286 01:26:33 I decided I didn't want to go anywhere
1287 01:26:35 and I started to do work with this uncle of mine
1288 01:26:40 who was then contracted to make a number of "instructional" films.
1289 01:26:48 Instructional films about applying first-aid bandages
1290 01:26:53 and things to do with the war effort.
1291 01:26:57 And from there
1292 01:27:02 the cutting rooms on feature films.
1293 01:27:05 I got my first editing job due to two producers
1294 01:27:11 who were making a very good film
1295 01:27:15 Having been an assistant in the cutting room
1296 01:27:19 and gone through the whole rigmarole of learning my craft...
1297 01:27:24 these two producers eventually came...
1298 01:27:31 But during the course of the film they fell out with one another
1299 01:27:35 and through a series of shrewd
1300 01:27:41 cunning...
1301 01:27:44 diplomatic moves on my part
1302 01:27:47 I became the editor of the film.
1303 01:27:50 I was able to contain one producer in his capacity and what he wanted on the film
1304 01:27:57 and also the American producer in his capacity and what he wanted on the film.
1305 01:28:02 They ended up by not talking to each other
1306 01:28:09 They only knew what I was doing for them
1307 01:28:11 which made the film end up completely the same for both of them.
1308 01:28:15 That's how I got my first break.
1309 01:28:18 CORK: Now back to this classic scene...
1310 01:28:20 one of the best confrontations between Bond and a villain.
1311 01:28:23 Terence Young sustains the audience's interest
1312 01:28:27 with only two characters in a confined space.
1313 01:28:30 It works because of the groundwork laid since the opening sequence.
1314 01:28:34 The filmmakers have taken care to keep the tension high and the suspense real
1315 01:28:39 and it pays off.
1316 01:28:41 Here Bond finds out that he has been played as a puppet by SPECTRE
1317 01:28:45 and that Tania is not his enemy.
1318 01:28:49 In the novel
1319 01:28:51 with a gun hidden inside a copy of War and Peace.
1320 01:28:55 When Grant fires
1321 01:29:00 rather than his heart.
1322 01:29:02 Here
1323 01:29:05 The filmmakers also replace Fleming's gun in a book
1324 01:29:08 with a gadget developed during World War Two...
1325 01:29:11 a garrote wire hidden in a watch.
1326 01:29:14 The character of Donald Grant is so well realized
1327 01:29:17 that he was virtually recreated in the Brian De Palma film Blow Out
1328 01:29:21 by actor John Lithgow.
1329 01:29:23 With a straight face
1330 01:29:27 pull on a black glove before killing
1331 01:29:29 and murder his victims with a garrote in his watch.
1332 01:29:32 The credit for this goes largely to Terence Young.
1333 01:29:35 His work with the actors and Richard Maibaum
1334 01:29:37 creates a scene filled with every bit of the tension of Fleming's novel.
1335 01:29:42 Yet Young's scene is different-the setting is the same but the plot is more complex.
1336 01:29:48 The interplay has been reworked from the novel
1337 01:29:51 to make the film feel fresh and new.
1338 01:29:53 The success of this part of the film
1339 01:29:56 goes beyond any attempt to make it interesting for Fleming's readers.
1340 01:29:59 It goes to the cinematic world of James Bond
1341 01:30:02 which Terence Young had such a strong hand in creating.
1342 01:30:06 Young
1343 01:30:10 into a character that reflected the stylish elegance of Fleming's evocative prose.
1344 01:30:15 James Bond's style was the key.
1345 01:30:18 With Fleming's characters and stories
1346 01:30:21 Terence Young fleshed out the cinematic 007 with all the human details.
1347 01:30:26 From the way he walked to how he kissed
1348 01:30:30 To capture the particularly English elegance of the character
1349 01:30:34 Young looked to himself as a person who knew style from the inside out.
1350 01:30:39 Sound editor Norman Wanstall remembers Terence Young
1351 01:30:43 and how he approached James Bond.
1352 01:30:45 WAN STALL: A lot of people used to say that Terence Young was James Bond.
1353 01:30:49 He was directing himself because he was the public school man with the blazer...
1354 01:30:54 upright and good-looking and obviously had had a fairly affluent past.
1355 01:31:00 The image of James Bond as in the book seemed to fit Terence.
1356 01:31:07 He was fairly cavalier too.
1357 01:31:09 He didn't seem to get uptight. Simple as that.
1358 01:31:12 I thought he was very right for the part
1359 01:31:17 CORK: Countless actors and crew saw
1360 01:31:19 Terence Young as a James Bond figure.
1361 01:31:21 He was adventurous
1362 01:31:26 He was also a film director with an eye for action
1363 01:31:31 and a wonderful ability to communicate and collaborate with his film crews.
1364 01:31:35 Special effects supervisor John Stears recalls.
1365 01:31:38 STEARS: Terence Young
1366 01:31:40 he was a phenomenal character.
1367 01:31:43 He would just actually get into your mind what he was thinking.
1368 01:31:47 I mean
1369 01:31:51 You'd just do it because you knew that was what was necessary.
1370 01:31:54 In fact
1371 01:31:58 that I've had that feeling that I knew I was doing what he wanted.
1372 01:32:02 But Terence had that ability.
1373 01:32:04 He would tell everybody exactly what he wanted
1374 01:32:08 the sort of sound effects he wanted.
1375 01:32:10 With costume and wardrobe
1376 01:32:14 There was no halfway and you knew you'd done it right.
1377 01:32:19 Norman Wanstall discusses the collaborative nature
1378 01:32:22 of work on the early Bond films
1379 01:32:24 and how that contrasts to the individual responsibilities of each department head.
1380 01:32:30 WANSTALL: Generally speaking
1381 01:32:35 is paid to do the job that they're meant to be good at.
1382 01:32:39 That's why we have all the tedious credits...
1383 01:32:42 because those people are experts in their field.
1384 01:32:44 So even though making movies is without doubt a team job
1385 01:32:48 everyone is expected to do their best in their department.
1386 01:32:52 So if you're a soundtrack editor
1387 01:32:55 what you feel is the very best you can for any particular moment.
1388 01:33:01 If you're in any doubt
1389 01:33:04 You can always call the director in and say
1390 01:33:06 "How do you feel about this?" and they would be pleased to contribute.
1391 01:33:11 But
1392 01:33:14 Everyone is working in their own little cubbyhole...
1393 01:33:18 the musician's off doing his stuff
1394 01:33:20 the sound effects editor is doing his
1395 01:33:24 and you hope that when they all come together
1396 01:33:29 In a case like that
1397 01:33:33 and when we reach the dubbing theater
1398 01:33:39 or if the director had a particular viewpoint
1399 01:33:43 then we would listen and try and adjust it.
1400 01:33:46 The director is the king.
1401 01:33:48 CORK: Now Terence Young discusses one
1402 01:33:50 of the most famous fights in film history.
1403 01:33:52 YOUNG: I did most of it myself... I used to be a boxer.
1404 01:33:55 And I was
1405 01:34:01 I played rugby football... international football.
1406 01:34:08 I worked it out with a different stunt man... it wasn't Bob Simmons.
1407 01:34:14 And originally I worked it out with the two doubles
1408 01:34:17 and I had the artists sitting by on the set watching.
1409 01:34:22 When they said
1410 01:34:26 and you won't do it as well as the stunt men."
1411 01:34:29 So after I'd said that three or four times
1412 01:34:31 and I'd shot two or three takes with the other artists
1413 01:34:35 I had them where I wanted them.
1414 01:34:37 They said
1415 01:34:40 There's only one shot doubled in the whole of that fight.
1416 01:34:44 I shot the sequence in two days-that's very quick because it lasts six minutes.
1417 01:34:49 I couldn't get too far away from the actors as I was shooting inside a compartment.
1418 01:34:55 We went from one rail compartment into the other one
1419 01:34:58 where the woman was sleeping.
1420 01:35:01 And
1421 01:35:04 and I think that added enormously to the effectiveness of this scene.
1422 01:35:09 It made it even more violent... the close contact all the time.
1423 01:35:13 The film was so violent
1424 01:35:17 the censors would have clipped it.
1425 01:35:22 CORK: Peter Hunt recalls how work progressed
1426 01:35:24 on the train fight sequence
1427 01:35:26 as production continued.
1428 01:35:29 HUNT: The train fight was really cinematic
1429 01:35:31 but we had the advantage...
1430 01:35:36 of shooting it over a period of time.
1431 01:35:39 I mean
1432 01:35:45 then we put that together.
1433 01:35:46 And it was a small set
1434 01:35:53 I would put it all together and then we would develop shots...
1435 01:35:59 extra things that would make it more exciting.
1436 01:36:02 This would all come about little by little
1437 01:36:05 then we'd do that... spend a morning on doing that.
1438 01:36:09 The main part was
1439 01:36:13 but the thing that turned it into a really exciting fight
1440 01:36:18 were the extra pieces that we could put in
1441 01:36:21 over a period of perhaps a week
1442 01:36:25 with odd days shooting extra inserts
1443 01:36:30 extra jaw socks
1444 01:36:37 It all managed through editing it like that and building it in the cutting rooms
1445 01:36:43 as films should be made... as Charlie Chaplin made his films...
1446 01:36:47 Terence would
1447 01:36:51 or something that he knew he had to have in a sequence
1448 01:36:56 "It's all right
1449 01:37:00 Then when it was all together
1450 01:37:03 "But we desperately need this close-up. We always knew we needed it."
1451 01:37:08 At the same time
1452 01:37:13 "Shouldn't we put in this here?"
1453 01:37:15 When they were scheduling the close-up which had to be done desperately
1454 01:37:20 he would manage to get extra shots and extra pieces.
1455 01:37:23 He was quite clever about that sort of way of shooting.
1456 01:37:38 CORK: We're coming to two sequences added
1457 01:37:40 to the film to create an action climax.
1458 01:37:43 In the novel
1459 01:37:47 without incident.
1460 01:37:49 The filmmakers wanted a more explosive climax
1461 01:37:52 and writer Richard Maibaum devised two sequences.
1462 01:37:57 The first is an attack by SPECTRE henchmen in a helicopter
1463 01:38:01 which both Maibaum and Young admitted
1464 01:38:04 was inspired by the famed crop-duster sequence in North by Northwest.
1465 01:38:10 It has some clever twists on Hitchcock's classic...
1466 01:38:13 becoming a top game of strategy between Bond and the SPECTRE agents.
1467 01:38:21 The second sequence
1468 01:38:23 are chased across the Gulf of Venice in boats
1469 01:38:26 was inspired by a scene in a script by Richard Maibaum
1470 01:38:29 in a film directed by Terence Young called The Red Beret
1471 01:38:32 and produced by Cubby Broccoli.
1472 01:38:35 The scene has Alan Ladd trapped in a minefield.
1473 01:38:38 A bazooka is fired and it skips across the ground
1474 01:38:43 creating a series of explosions.
1475 01:38:45 With the mines detonated
1476 01:38:51 Notice the clever visual coming up
1477 01:38:53 where Bond literally gives his maiden a bed of roses to sleep upon.
1478 01:38:58 Now back to Peter Hunt
1479 01:38:59 who discusses how the different styles of Hitchcock and Young
1480 01:39:03 allow them to look at similar material and arrive at totally different creative results.
1481 01:39:09 HUNT: Hitchcock worked everything out... he was an art director
1482 01:39:13 and he storyboarded everything for himself beforehand.
1483 01:39:17 So he knew how it was going to work
1484 01:39:20 and in doing so
1485 01:39:24 so that it would work just as he had storyboarded it.
1486 01:39:28 That way you can't do what I do.
1487 01:39:30 All he's going to do is shoot what he wants and that's it.
1488 01:39:37 The helicopter chase in From Russia with Love was different
1489 01:39:43 in so far as it was a conglomeration of a number of shots
1490 01:39:48 which had to be got under several conditions and...
1491 01:39:55 a creativity about editing it.
1492 01:39:57 Terence used to work from the moment... the situation as it was at the time...
1493 01:40:02 and would deliver you a great deal of material
1494 01:40:07 which was covering the story sequence.
1495 01:40:11 So you had to make it work. You had to work at it.
1496 01:40:15 You had to look at it and try and make out how the situations could be developed
1497 01:40:21 with the material that he gave you.
1498 01:40:24 He knew that he often did it that way and it pleased him to do it that way...
1499 01:40:29 it worked for his personality... but it did make it hard work.
1500 01:40:34 It did make it an effort on your part to make it work
1501 01:40:38 in a way that he thought that it should go.
1502 01:40:42 We had such a relationship and a rapport and I liked him so much
1503 01:40:47 that he never upset me at any time.
1504 01:40:50 Whatever outrageous things I did with his material
1505 01:40:54 he never said
1506 01:40:59 He always encouraged one.
1507 01:41:01 He was always full of "Yeah
1508 01:41:06 And that is how we would develop certain sequences and make them even better.
1509 01:41:12 CORK: To blow up a helicopter
1510 01:41:16 Stears refers to radio-control as RC.
1511 01:41:19 STEARS: The helicopter you saw in the film was a miniature
1512 01:41:26 I think it was the first time that had been attempted.
1513 01:41:30 It was about six feet long
1514 01:41:35 and you had a little commercial petrol engine inside it.
1515 01:41:39 RC was not really..
1516 01:41:47 but it was partially RCd.
1517 01:41:49 What I did actually
1518 01:41:55 but it had an aerofoil section so it stabilized itself and actually lifted.
1519 01:42:01 And the tail rotor I trimmed
1520 01:42:04 to hold it in a stable condition laterally.
1521 01:42:09 What we did
1522 01:42:13 I wouldn't trust the radio at the time to do it with radio-controlled explosions...
1523 01:42:19 I did feed a cable down through the main rotor
1524 01:42:23 and then another one under the tail rotor.
1525 01:42:26 That was purely to take the electrical current for the explosion.
1526 01:42:30 The thing
1527 01:42:33 and those two wires were for the pyros
1528 01:42:37 That was the first time a model helicopter had been used like that.
1529 01:42:41 That was a shot which we did one lunchtime.
1530 01:42:44 Terence Young said
1531 01:42:48 I said
1532 01:42:51 So off we went and we did it
1533 01:42:55 CORK: When the helicopter does crash
1534 01:42:56 in the film
1535 01:42:59 "I'd say one of their aircraft is missing."
1536 01:43:01 The line is an in-joke
1537 01:43:05 The war drama
1538 01:43:09 was the movie which brought Cain into the film industry.
1539 01:43:12 For Sean Connery
1540 01:43:15 He moved from being the little-known star of Dr. No
1541 01:43:18 to a leading man with real presence.
1542 01:43:21 Dana Broccoli remembers Connery's anxiousness
1543 01:43:24 to make his mark in other non-Bond films.
1544 01:43:27 BROCCOLI: Sean was anxious to do other films
1545 01:43:30 and although he had a contract to do a non-Bond film with Harry and Cubby
1546 01:43:36 Cubby decided
1547 01:43:43 Then he asked Sean what he would really like.
1548 01:43:46 He said
1549 01:43:49 So Cubby picked up the phone and spoke to Hitchcock
1550 01:43:52 and he said
1551 01:43:55 And he did make a film with Hitchcock.
1552 01:43:58 CORK: Connery's film with Hitchcock...
1553 01:44:00 the psychological drama Marnie...
1554 01:44:02 was not well received by critics at the time of its release
1555 01:44:05 but has since become regarded by many as a classic.
1556 01:44:09 Now we return to Blofeld on his yacht.
1557 01:44:12 Notice in this shot the back of Blofeld's head in the right corner
1558 01:44:16 where actor Anthony Dawson's black hair can be seen.
1559 01:44:19 This was the last time Blofeld would sport hair
1560 01:44:22 until 1971's Diamonds Are Forever when actor Charles Gray took over the role.
1561 01:44:27 We are about to witness the death of Kronsteen
1562 01:44:30 played expertly by Polish-born actor Vladek Sheybal.
1563 01:44:33 Sheybal was in his teens when Poland was invaded by the Nazis.
1564 01:44:38 He worked with the Resistance and was imprisoned
1565 01:44:42 In 1951 Sheybal won the national acting prize in Poland
1566 01:44:46 and then emigrated to England to study film production.
1567 01:44:50 His papers did not allow him to pursue acting work
1568 01:44:52 and he was forced to take menial jobs.
1569 01:44:55 The Oxford Dramatic Society asked him to mount productions for them
1570 01:45:00 and Sheybal became a fixture in drama circles
1571 01:45:03 renowned as a teacher and performer.
1572 01:45:05 Sheybal did not want the role in From Russia with Love...
1573 01:45:08 he later claimed that he did not like the script or the part...
1574 01:45:12 but he was friends with Sean Connery's wife
1575 01:45:15 and Connery had suggested him for Kronsteen
1576 01:45:20 He would later claim that From Russia with Love "would change my whole life".
1577 01:45:25 Viadek Sheybal went on to play many roles in spy films of the '60s and 70s
1578 01:45:30 including a comic turn in the 1967 James Bond spoof
1579 01:45:36 He passed away in 1992 in his adopted home of England.
1580 01:45:41 There will be no delay
1581 01:45:48 CORK: Now back to Norman Wanstall
1582 01:45:50 who discusses the difficulties of finding just the right sound for the boats.
1583 01:45:54 WANSTALL: The sound mixer who went on location with the crew
1584 01:45:58 was determined that he would bring back ample tracks of those marine craft.
1585 01:46:04 He became one of the crew
1586 01:46:11 and he is in front of one of the boats... he was recording.
1587 01:46:15 But when we ran them
1588 01:46:17 I realized that these boats were so refined
1589 01:46:21 that they sounded more like vacuum cleaners.
1590 01:46:25 I knew that Bond films would not accept such a sound. They had to roar.
1591 01:46:29 We had to feel that these were turbo-charged roaring monsters.
1592 01:46:33 And it just so happened that he recorded one of these going off from the harbor
1593 01:46:41 and it started up with a tremendous roar and you had the exhaust as it drove away.
1594 01:46:46 That track was what I dreamed about... the sound I heard these boats making...
1595 01:46:52 and that became the basis of the whole scene.
1596 01:46:56 CORK: The boat chase proved to be one of the most difficult scenes to shoot
1597 01:47:01 in any Bond film.
1598 01:47:03 First
1599 01:47:06 They were plagued by weather delays
1600 01:47:11 which made the resulting footage look tame.
1601 01:47:14 Finally
1602 01:47:17 and the producers decided to shoot the sequence in Scotland.
1603 01:47:20 Yet bad luck followed the crew.
1604 01:47:22 Ten days were allotted for the locations
1605 01:47:24 but when Terence Young and assistant art director Michael White
1606 01:47:28 were involved in a helicopter crash
1607 01:47:30 the crew slipped five days behind schedule...
1608 01:47:32 not because of injuries but because they had to wait on a new helicopter.
1609 01:47:37 Weather also proved to be a problem
1610 01:47:41 as Walter Gotell remembers.
1611 01:47:44 GOTELL: Believe it or not
1612 01:47:50 due to Cubby Broccoli's determination to get the wind from the right direction.
1613 01:47:55 Nothing else to be shot...we'd shot it all...
1614 01:47:58 and
1615 01:48:05 and his utter grit
1616 01:48:23 CORK: We are now in the paddock tank at Pinewood Studios
1617 01:48:26 where all the post-explosion fire was staged.
1618 01:48:29 Despite controlled conditions
1619 01:48:33 as Walter Gotell recalls.
1620 01:48:36 GOTELL: It was nevertheless a hell of an experience
1621 01:48:41 because my eyelids were burnt off because I insisted on doing it myself.
1622 01:48:47 They offered me a stunt man but I said
1623 01:48:50 It was
1624 01:48:58 CORK: A careful listener will recall that this music
1625 01:49:01 was originally heard at the climax of the first Bond film
1626 01:49:06 This final boat explosion was one of the final shots filmed.
1627 01:49:10 The blast was so large that
1628 01:49:12 according to an Eon Productions press release
1629 01:49:15 it rattled dishes in the studio commissary.
1630 01:49:18 The same press release announced that the fire seriously burned three stunt men.
1631 01:49:24 We are now on a stage at Pinewood Studios
1632 01:49:27 where Lotte Lenya solidifies her position as one of the great Bond villains.
1633 01:49:37 Lenya did not appear in many films.
1634 01:49:39 She performed in the 1930 German version of Threepenny Opera
1635 01:49:43 and did not return in front of movie cameras until 1961
1636 01:49:47 in The Roman Spring of Mrs. Stone
1637 01:49:49 where she played the decadent woman who manages a stable of gigolos.
1638 01:49:53 She was nominated for an Academy Award for the role.
1639 01:49:57 In 1963
1640 01:50:01 According to biographer Donald Spoto
1641 01:50:03 she weighed just over 100 pounds at the time
1642 01:50:06 and the costumers built her clothes with padding.
1643 01:50:09 The New York Post reported that she balked at the idea
1644 01:50:13 saying that she could play the part so that she would not look weak or small.
1645 01:50:18 Her last film was Semi-Tough
1646 01:50:20 where she gives Burt Reynolds a sadistic massage.
1647 01:50:23 Lotte Lenya passed away in 1981.
1648 01:50:25 Despite her fame as a singer and stage performer
1649 01:50:28 and even the celebrity of the Academy Award nomination
1650 01:50:32 she often remarked that it was the Bond film that people remembered best.
1651 01:50:37 She was remembered with fondness by the cast and crew.
1652 01:50:40 In the novel
1653 01:50:46 It is Klebb's suite and she awaits Bond with a gun built into a telephone
1654 01:50:50 and poison-tip knitting needles.
1655 01:50:53 Bond pins her to the wall with a chair
1656 01:50:55 but as Klebb is being taken away by the French agents
1657 01:50:59 Klebb kicks him with her poison-tip shoe.
1658 01:51:01 As the novel closes
1659 01:51:05 Critics have speculated that Fleming intended to kill Bond with that scene
1660 01:51:09 but by the time From Russia with Love was published
1661 01:51:13 Fleming had already written the first draft of Dr. No.
1662 01:51:17 Far from trying to kill Bond off
1663 01:51:19 Fleming followed in the footsteps of authors such as Sir Arthur Conan Doyle
1664 01:51:24 creating a cliffhanger ending.
1665 01:51:29 From Russia with Love premiered at the London Pavilion cinema
1666 01:51:33 on October 10th
1667 01:51:36 Ian Fleming held a party afterwards where he served beluga caviar.
1668 01:51:40 The premiere proved to be a thundering success
1669 01:51:45 Actress Aliza Gur recalls the event.
1670 01:51:48 GUR: The London premiere of From Russia with Love... Wow!
1671 01:51:52 First of all
1672 01:51:58 that was about six stories high of myself and Martine Beswick with Sean.
1673 01:52:06 I have never seen myself so big.
1674 01:52:08 And I remember driving around and around Piccadilly Circus
1675 01:52:12 looking at that poster and going "Wow!"
1676 01:52:17 I have been to so many premieres
1677 01:52:22 We were lucky. From Russia with Love came after Dr. No
1678 01:52:26 and Dr. No was a sensation.
1679 01:52:30 Sean Connery
1680 01:52:33 And we were lucky to be right after them.
1681 01:52:37 And there was
1682 01:52:45 That premiere
1683 01:52:50 took one hour for the limo to make its way through.
1684 01:52:54 You can walk it in two minutes.
1685 01:52:58 It was a fabulous premiere
1686 01:53:01 And to see the picture and hear the applause during the picture...
1687 01:53:07 I knew. I walked out and I said
1688 01:53:14 And it did. It really did.
1689 01:53:17 CORK: Now a final comment from director Terence Young.
1690 01:53:20 YOUNG: From Russia with Love is
1691 01:53:22 the best of all the Bond pictures.
1692 01:53:24 It sounds arrogant but I'm sure it's true.
1693 01:53:27 We had just the right enough money... we had $2 million...
1694 01:53:30 and I had everything I wanted.
1695 01:53:34 CORK: We hope you've enjoyed this audio commentary.
1696 01:53:38 We'd like to thank all the actors and crew members who provided interviews
1697 01:53:42 and those who conducted the interviews and helped us document these stories.
1698 01:53:46 Particularly we want to thank Steve Mori
1699 01:53:48 who provided us with his interview with Terence Young.
1700 01:53:52 This commentary was produced by David Naylor and Bruce Scivally.
1701 01:53:56 I'm John Cork of the Ian Fleming Foundation.
1702 01:53:58 This is the end of the From Russia with Love audio commentary.