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The James Bond 007 Dossier

Bond, James Bond.

12. October 2015 12:16
by m

The Mail On Sunday Special James Bond Spectre Collector's Edition of Event Magazine

12. October 2015 12:16 by m | 0 Comments

A couple of weeks ago, The U.K.'s Daily Mail / Mail on Sunday newspaper ran a spectacular 27 page feature on the new James Bond film, SpectreSpectre, opening in the UK on October 26th. A special thanks to my Mum for grabbing me a copy of this and sending it my way!

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BOND GUNS, GIRLS & THE £200M blowout - The inside story of the most expensive (and dazzling) 007 yet...

The wait is over. Three years since SkyfallSkyfall broke the billion dollar barrier at the box office, Janies Bond is back - in the most spectacular and expensive 007 film ever made. In this special collector’s issue of Event, you can read the ONLY official inside story of the making of SpectreSpectre: heart-racing set reports, fascinating interviews with Daniel Craig, Sam Mendes and a host of co-stars, a spin in the new Aston Martin DB10 with Top Gear’s finest, PLUS more than 50 stunning exclusive pictures. Now buckle up - and get ready for an action-packed ride...

COVER PHOTOGRAPH BY RANKIN Daniel Craig and Lea Seydoux in SpectreSpectre

Your 27-page spectacular starts here


How big is this Bond? Well, they blew £24 million just on smshing cars. And Event was there for every eye-popping smash, bang and wallop - in Mexico, Austria and Italy

For Your Eyes OnlyFor Your Eyes Only


Photo: Above: Daniel Craig. Right: extras fill the streets of Mexico City dressed for the Day Of The Dead festival, holding aloft ‘La Catrina', a 30ft grinning skull

James Bond has brought Mexico City to its knees. It’s late March, and I’m standing in the centre of the Mexican capital’s imposing main square, the Plaza de la Constitucion, surrounded by an army of macabre skel-¦ etons and zombies, played by thousands of extras whose costumes and extravagantly painted faces will provide a dramatic backdrop for an epic 11-minute opening sequence to the new Bond film SpectreSpectre. In one of central America’s mega-cities, with a population of more than 21 million, the inhabitants are used to appalling traffic congestion, but today’s snarl-up around the historic centre is of biblical proportions - the equivalent of closing Times Square in New York in rush hour. Excitable locals crane their necks from cordoned-off streets hoping to catch a glimpse of Daniel Craig as Bond while a sea of smartphones are held aloft to capture every moment of filming for posterity; to my left I see lines of police struggling to contain the swarm of fans and heavily armed motorcyclists stand by to escort the cast back to their hotels once the scene is in the can.

Welcome to the madness of SpectreSpectre, the biggest, most spectacular and, with a £200 million budget, most expensive Bond film ever produced in the 53-year cinematic history of 007. It’s a classic Bond tale, which follows our hero trying to infiltrate and destroy a criminal organisation called SpectreSpectre (Special Executive For Counter-Intelligence, Terrorism, Revenge and Extortion), last seen in Diamonds Are ForeverDiamonds Are Forever. Event was given exclusive and unprecedented access to the set of the movie by the producers and the director Sam Mendes to watch three pivotal action scenes being shot in three wildly glamorous and exotic locations.

We travelled to Rome (being used as a location for the first time ever in a Bond film), where we witnessed Daniel Craig push himself to the limits in an adrenaline-fuelled night car chase around Vatican City; and we watched a heart-stopping plane crash on a glacier in the Austrian Alps.

But our first stop is Mexico City, for that unforgettable opening sequence...

Over 1,500 extras (the most assembled for a scene in any Bond film) have been bussed in to recreate the spectacular Day Of The Dead festival, an annual Mexican procession remembering lost loved ones, which is like a super-sized Halloween parade as imagined by Tim Burton. It’s a suitably sinister backdrop for Bond, who we watch weaving his way through the nightmarish crowd, overshawdowed bv -    La Catrina - a giant 30ft tall grinning

skull, and accompanied, naturally, by a stunningly beautiful woman (Estrella, played by Mexican actress Stephanie * Sigman). As the crowd sways and dances to a blaring soundtrack of mariachi bands, drums and fire-crackers we see that Bond is in hot pursuit of an another man, an assassin, Marco Sciarra (Alessandro Cremona). The scene is shattered by the deafening whir of a helicopter, which swoops in 30m above our heads before hurtling to a stop in the Plaza de la Constitucion, among a crowd of petrified carni-val-goers. Bond catches up with Sciarra as the baddie tries to make his escape, grappling with his rival as the Messerschmitt M-BB helicopter soars back into the sky, the two men hanging perilously from its landing gear.

I watch the climax of this jaw-dropping sequence a vertigo-inducing fight to the death - from the ground below, mouth agape. It is one of the most stunning aerial stunts ever seen on the big screen.

Craig shares the honours in these nerve-shredding opening moments with his stunt doubles. The first part of the scene - a rooftop chase that takes place before the carnival sequence, the pursuit through the festival crowd and the first part of the fight on the helicopter, is all Craig, but the second and decidedly more dangerous section - when we see the helicopter up in the sky, spinning wildly out of control - was filmed using stunt doubles on an airfield north of Mexico City and later seamlessly woven together in the editing suite. Flying the craft is American stunt helicopter pilot Chuck Aaron, 66, one of only three pilots in the world licensed to perform aerobatics in a helicopter.

Photo: Clockwise, from top left: the helicopter arrives at the Plaza de la Constitucion, Mexico City; the fight sequence; Daniel Craig and Stephanie Sigman in Day Of The Dead masks; crew handle a giant skeleton; Alessandro Cremona as villain Sciarra

It’s been three years since SkyfallSkyfall became the first Bond movie to break the billion-dollar barrier at the box office — winning a raft of awards and proving that Britain’s most famous secret agent still has what it takes to seduce cinema goers around the world. The seventh-highest-grossing movie of all time, the dark and brutal spectacular won two Oscars, picked up the 2013 Bafta for Outstanding British Film, and shockingly dispatched one of its key characters, Judi Dench’s much-loved M, all in one fell swoop. SpectreSpectre is the 24th 007 film and as well as those glorious locations it features a phalanx of deadly and exotic new Bond girls and a brilliant new theme song, Writings On The Wall, sung by one of the Britain’s hot test pop stars, Sam Smith.

Long-serving producer Barbara Broccoli tells Event she is immensely proud of those stunning pre-title scenes: ‘My dad Cubby Broccoli always said, “Put all the money on the screen.” There’s a lot of money on the screen in this one! Bond has such an extraordinary tradi tion of awe-inspiring openings, it is difficult to top them But this sequence is up there as one of the greatest.’

Her fellow producer, Michael Wilson, agrees: ‘It’s the biggest opening sequence the Bond franchise has ever done. The only thing that comes close to it was the Carnival in Rio in MoonrakerMoonraker, but that was not as big an effort as this.’ The British director Sam Mendes reveals that he had a clear vision for the film’s open ing. ‘I wanted the audience to be dropped right into the middle of a very specific, very atmospheric and very rich environment’, he says. ‘I wanted that combination of sinister and celebratory that you can only get with something like the Day Of The Dead. When the film opens, it’s almost like the perfect mission and every thing is going to plan, but then there’s a game-chang ing moment.’

With an epic high-performance car chase through Rome, a helicopter fight and a plane crash in the Alps, it's hardly surprising that this is reported to be the most expensive Bond film of all time. The budget for smashing up luxury cars alone - including custom-built Jaguars and Aston Martins - was an eye-popping £24m, according to the chief stunt co-ordinator t'.ary Powell, who along with location manager Martin Joy, was in charge of the wallet-busting Rome scenes.

When we got there it was, appropriately enough, epic. This March the SpectreSpectre team were granted special permission to put huge areas of the city, including the Vatican, around the Colosseum and along parts of the Tiber river, in lockdown for four nights and Event was invited to join them.

The first night threatens to be a total wash-out. I stand with 500 frustrated and cold SpectreSpectre personnel as torrential rain halts filming on the climactic sequence of the chase. Event uses the lull in filming to bag a thrilling nocturnal ride in Bond’s Aston Martin DB10 (ten were specially made for the film). Afterwards one of the crew tells me that every hour of rain could cost the production a cool million pounds. Luckily for the producers, the following night the rain holds off and we witness an unforgettable scene featuring Bond’s Aston Martin and the villain’s Jaguar careering at terrifying speeds through the city’s ancient streets. At the climax, the roof is dramatically ripped off the baddy’s car and Bond hurtles through it in the Aston. Cut!

Earlier in the year, in February,Event flew to Austria to watch Bond crash-land a plane along a glacier as burly security guards busied themselves catching papara/./.i lurking under vehicles or hidden in the nearby forest, while local bars lured visitors with offers of SpectreSpectre cocktails and shots of 007 whisky.

While the sleepy Austrian municipality of Obertillach (pop 712) is used to being invaded throughout the year by cross-country skiers, mountaineers and paragliders, nothing could have prepared it for the arrival of a 1,000-strong army of 007 personnel.

Giant cranes hover over a set littered with skidoos, snowcats and bulldozers while helicopters buzz through the brooding winter sky filming the final part of a six-minute chase sequence which climaxes with Bond’s plane crashing through a barn and colliding like a fireball into the villains’ Land Rover. There is smoke. There is fire. And thumbs-up all round. Three months in the planning and precisely three seconds worth of film is in the can.

SpectreSpectre's script has been written by John Logan, together with Neil Purvis and Robert Wade (who wrote the screenplays for The World Is Not EnoughThe World Is Not Enough, Skvfall and Casino Rovale) picks up where SkyfallSkyfall left off, as Bond uncovers the existence of the sinister terrorist organisation known as SpectreSpectre - making its return to the 007 universe after a long-running legal dispute was resolved (see panel on page 12).

SpectreSpectre boasts plenty of familiar faces as Naomie 1 larris returns as Miss Moneypenny and Ben Whishaw reappears as the quirky inventor Q. Ralph Fiennes fills the shoes of Judi Dench as M, while Bond’s glamorous female counterparts are led by the 50-year-old Italian actress Monica Bellucci, the oldest Bond girl ever, alongside the beautiful French actress Lea Seydoux. Up against 007 is former wrestling champion Dave Bautista as Mr Hinx, the personal henchman of SpectreSpectre's ^ ^ ¦ Franz Oberhauser - played by Oscar-winner Christoph Waltz. And fan sites | Lt tin the internet have been in a frenzy about the rumoured return of the notorious villain Blofeld.    

Bond is cinema’s longest-running franchise. But times have changed. What makes us care about a maverick agent so firmly rooted in a bygone era? According to Mendes, the spy transcends time periods. ‘It seems we're still interested in the thrill of the chase,  masculinity, political intrigue, surveillance, sexual politics, Britishness, great suits, beautiful women... and blowing things up,’ he says. ‘It is still possible to make a fabulous, glamorous, escapist movie and at the same time say something about the world we’re living in.’

SpectreSpectre’ will be released on October 26

Bond battles with the walking dead...

Michael Wilson, producer:

This is old-style film-making, the kind people don't do now, as they rely on CGI. We had streets closed off leading to the square in Mexico City. We put a collapsed building in the middle of a street; we landed helicopters. The 1.500 extras weren't "show up in your own clothes" extras, they were all dressed for the Day Of The Dead. It meant make-up, hair and wardrobe each morning at 4am in a convention centre miles away then being bussed in.

It was extraordinary. Then in Morocco we set off the biggest-ever explosion on film. We had four major foreign locations with a First and Second Unit (two complete film crews, one shooting with principal actors, the other focusing on stunt scenes and pick-ups).

It was on an epic scale.

At the limits: the stunning low-level helicopter fight

Chuck Aaron, helicopter stunt pilot: I have to fly into the centre of Mexico City down one of its main streets and then pick up the assassin Sciarra in the city's main square after he has phoned for help when Bond pursues him. I am the only man licensed by the FAA (Federal Aviation Administration) to do aerobatics in a helicopter in the States; one of only three pilots in the world. Nobody else rolls and flips helicopters or does back flips and split 'S's [an air combat manoeuvre where the pilot executes a 360 degree mid-air corkscrew], I fly a modified Messerschmitt-Bolkow-Blohm (M-BB) helicopter. It pushed my machine to its limits. I had to make modifications, but they're confidential. We were at 7,500ft above sea level in the city but when the sun came out, it changed the density altitude and suddenly the helicopter doesn't respond so well. I was at the limits of everything I could do. I had to formulate contingency plans in case something went wrong. In the opening scene I fly down one of Mexico City’s main streets, 20th Novembre Street, at 45 knots, 30ft from the ground, between buildings, over thousands of people's heads. When I take off with Bond and the villain on board fighting I was up to 120 knots.’


A barnstorming battle in the mountains

sequence starts in Solden in Austria on top of a glacier and ends in Obertilliach with Bond crashing a plane through the bam. It's a six-minute chase sequence set and it's one of the movie's action highlights. I've been working on Bond since On Her Majesty's Secret ServiceOn Her Majesty in which I played the part of a baddie skier. Now I'm the snow consultant. Everyone knows me as Jack The Snow. Today there are 500 workers here keeping the snow pristine. There was too little snow when we arrived for the shoot.

We had to cover an area of 50,000sq m with three feet of snow, using snow machines with high-pressure pumps and generators to create winter.

We had to throw explosives out of a helicopter to prevent avalanches. It was a big operation."

Neil Callow, art director: The plane enters the barn and is then fired out by a cannon and crashes into a Land Rover at the end of the sequence.

Originally, it was going to extend to a chase through the village on skidoos, finishing with a showdown on the dam, but water levels were uncertain and an enormous ramp would have had to have been built for the vehicles to get over. We constructed ten hay bams using local carpenters to make it look authentically Alpine. Having chickens flying out of the bam was discussed - but considered too old-school Bond!’

Chris Corbould, special effects supervisor: 'This barn scene is like an aerial Scalextrix but on a massive scale. There’s a full-size plane going down a zip wire through the trees with the wires attached to overhead cranes. The plane got up to such a great speed that we were actually getting lift under the wings so we had to slow it down. There’s no computer generated imagery, apart from erasing the wires in post-production. We had the plane sliding down the hill on its belly which looked like it was using its propellers for forward motion but inside is a heavy duty skidoo with a stuntman driving.’

A 110mph chase around the Vatican

Gary Powell, chief stunt co-ordinator: We set the record for smashing up cars on SpectreSpectre - seven Aston Martins in all. In Rome we wrecked millions of pounds' worth of cars. They were going into the Vatican at top speeds of UOmph. We shot one entire night for four seconds of film. There was a risk of skidding into the Vatican - that would have been catastrophic, but the sequence went without problems.' Martin Joy, location co-ordinator: 'No movie has ever shot in Rome on this scale. It took six months of preparation with a second unit of 300 people, plus 200 security. The areas were blocked off and locked down for four nights from 9pm-6am. St Peter's Square, The Vatican, the Colosseum and the River Tiber all feature during the chase. The historic three flights of stairs the cars race down, the Scalo De Pinedo, are a protected monument so they needed to be carefully saved from damage by laying fake concrete on top of the real concrete. The chase actually begins at Blenheim Palace, which doubles for an Italian building then picks up at the Garibaldi fountain. Towards the end of the scene, the roof tears off another car and Bond drives through it.’

See Chris Evans Review of the car p26.

Photos: Blood, Sweat And Bond: Behind The Scenes Of SpectreSpectre (curated by Rankin) will be published on October 27 by DK, £25. Available to pre-order now at Behind-the-scenes images and exclusive quotes from the book appear across Event's special SpectreSpectre issue.

SpectreSpectre Calls

As the criminal masterminds of SpectreSpectre gather in the boardroom, is supervillain Blofeld REALLY among them? Event sifts the evidence...

(That’s the Special Executive for Counter-Intelligence, Terrorism Revenge and Extortion to you)

Bond Baddies

Meet the crime syndicate’s head henchman Mr Hinx and - overleaf - the man who might just turn out to be his boss, Blofeld

From Sherlock Holmes’ nemesis Dr Moriarty to Batman’s evil opponent The Joker, it is the movie villain who often provides the most fantastic and spine-chilling big-screen moments.

So it’s no surprise that film-goers are eagerly awaiting the return of SpectreSpectre (Special executive for Counter-Intelligence, Terrorism. Revenge, and Extortion) - and praying it will signal the return of the arch anti-hero Ernst Stavro Blofield.

SpectreSpectre made its first appearance in the 1961 novel ThunderballThunderball and its movie debut in 1962’s Dr. NoDr. No, and initially its evil cast included members of the Gestapo, a Russian crime agency, and the Mafia.

But Blofeld has been absent from the Bond films for decades due to a dispute that dated to 1959 and was only resolved two years ago. Writer Kevin McClory had worked with Fleming on a movie treatment that became ThunderballThunderball - which gave him shared rights to SpectreSpectre and the character of Blofeld. Only in 2013, after McClory's earlier death, did his family sell back the rights to the makers of 007, leaving SpectreSpectre free to wreak havoc again.

Will Blofeld return? There's speculation that Christoph Waltz's Franz Oberhauser is the revived villain, but could it be Andrew Scott's double agent Denbigh? Or maybe the franchise will return to the early films, where Blofeld is everywhere, but the face of the man himself - unlike his white Persian cat - is never unmasked.

By the third, fourth and fifth film appearances, he is the main villain, meeting Bond face to face. And in the opening of Diamonds Are ForeverDiamonds Are Forever Blofeld even tells Bond that some of his men have had plastic surgery to become duplicates of him.

Intriguingly, his looks change with the actors who play him. Czech actor Jan Werich was originally cast in You Only Live TwiceYou Only Live Twice but it was quickly felt he was a bad choice, resembling a ‘poor benevolent Santa Claus.’ So the role went to the sinister Donald Fleasence, who boasts a duelling scar on his face in the movie.

By the time Telly Savalas takes on the role in On Her Majesty’s Secret Service, Blofeld has lost the scar. Charles Gray plays him with silver grey hair in Diamonds Are ForeverDiamonds Are Forever, and in his most recent appearance (by Max von Sydow in Never Say Never AgainNever Say Never Again) he is tall, thin and bearded with a European accent. It all fits with Fleming’s notion that Blofeld is a master criminal prepared to go to any lengths to preserve his anonymity, including the use of plastic surgery.

By Jo Knowsley

The new Oddjob

DAVE BAUTISTA (pictured, left, with Daniel Craig) plays the SpectreSpectre boss’s personal henchman, Mr Hinx For a while I lost interest in Bond movies. Sean Connery was always James Bond to me. Watching Connery, you knew you were watching a man’s man. When Daniel took over for Casino RoyaleCasino Royale, Bond got his testosterone back. That swagger! In my audition I made it look like I was enjoying an ordinary day, torturing some poor guy. Apparently that’s what caught Sam Mendes’s attention. When I was told I was Mr Hinx, I was sworn to secrecy. But of course, I told my manager, my mother, my fiancee...

I did a lot of the fight sequences myself. I’m not an adrenaline junkie and some of it I was just not qualified to do. But for the car chases, all the actors got their hands dirty. We were flying - 1OO mph, maybe more.

I had no serious injuries but I did get punched square in the nose. I won’t say by whom. I don’t like pain - nobody does.


SpectreSpectre’s super-villain

CHRISTOPH WALTZ plays Franz Oberhauser, the son of Hannes Oberhauser, an Austrian climbing and ski instructor, and friend of Bond’s father, who briefly became the young Bond’s guardian after the death of his parents. Shrouded in more secrecy than any other SpectreSpectre character, Oberhauser is a senior figure in the SpectreSpectre criminal organisation and Bond’s main antagonist. It is rumoured that he is actually Blofeld in disguise.

I had a Bond car when I was a kid. It was an Aston Martin DB5 with the ejector seat and the rockets, but I was never particularly a fan of the Bond movies. Though of course when you’re 16, you’re a fan, because it feeds right into your development. Daniel Craig has made a Bond for our time. With him, 007 changed from smooth and suave, schmoozing the beautiful blonde, to a little darker, more existential, slightly sinister. The killing became less ginger, the sex became more involved, and the Bond girl was not a disposable object, but a partner.

I reinvented the Bond villain. I said - and they totally agreed - ‘It Bond changes, and the Bond girl changes, then the so-called villain cannot remain the slightly camp, buffoonish eccentric who is happy to zap the world from outer space.’

The secret secret agent

ANDREW SCOTT, the Sherlock actor, plays Denbigh, the head of the intelligence organisation MI5, but is he also a double agent?

The speculation is half the fun, on Bond as on Sherlock.

I’m sworn to secrecy. If I’m told to keep something secret I’m pretty good at it.

There is incredible attention to detail. The production designers want everything to be authentic. In my offlce on set, I found some headed notepaper with my character's name on it, along with business cards.

1. Event went behind the scenes on SpectreSpectre and took these candid shots of the stars on set. Here, cameras capture an explosive scene in Mexico City

2. Director Sam Mendes prepares to get in the carnival spirit during the Day Of The Dead festival

3. Below: French actress Lea Seydoux ‘assaults' Dave Bautista's SpectreSpectre baddie Mr Hinx on a train in Morocco

4. Italian star Monica Bellucci - as Lucia Sciarra - is the oldest Bond girl ever

5. Daniel Craig and Stephanie Sigman being directed by Sam Mendes during the the Day of the Dead sequence in Mexico

Bond Goodies

The ever-quirky Q

BEN WHISHAW plays the head of Q Branch, the fictional research and development division of the British Secret Service.

I think I’d make a decent spy. My grandfather, who was German, spied for the British during WWII. He was a very elusive, very secretive man. I’ve inherited a little of that secretive nature.

I’m very private. A good spy needs to be a good actor. I find it easy to disappear into character. I can also convince myself that things are real even when they aren’t.

I find it harder to learn Bond than Shakespeare.

Although I don’t have the best memory and some of the lines () delivers are very detailed, very geeky. Daniel is amazingly easy to work with. Even if we’re just sitting chatting at the bar he’s got this animal presence.

Now it feels like I’m a part of the Bond family.

When we started. Sam Mendes made a little speech and his final words were, ‘Let us remember Ian Fleming. He’s the person who set this incredible thing in motion.’ That made me think about Fleming and what he said about his creation, which was that it's ultimately a romantic view of a spy. I believe that remains true of these films.

Meet the new ‘M

RALPH FIENNES is Lieutenant Colonel Gareth Mallory, the chairman * of the Intelligence and Security

I Committee. The deeply cynical Mallory assumed the role of M following the untimely death of ! j Judi Dench’s character.

II It is an intimidating challenge to follow Judi Dench as M. You felt the power of her. She gave a new sort of definition to M.

It is a great decision of Sam Mendes to rebuild exactly the Bernard Lee office from the old designs in the earlier movies. M has a military background and his office suggests a sense of tradition. He appreciates Bond is being mutinous and going his own way so M has to s bond with Bond so to speak.

Bond On Bond

Photo: Daniel Craig with Lea Seydoux

Nobody Does it Better

Daniel Craig tells Event why he gets a kick out of being a killer!?? and reveals the secret of his success - a 'good story and blowing things up every half an hour!’

If Daniel Craig has been great news for James Bond - his third film, SkyfallSkyfall, was the first in the 53-year franchise to break the billion-dollar barrier - Bond has been equally gracious in return.

Craig earned £17 million last year and after the success of SkyfallSkyfall brokered a deal to be paid £31 million for his next two 007 films, including SpectreSpectre, the 24th film in the franchise. He’s the only British actor to make it on to the Forbes list of highest-paid stars of 2015 (lie came 15th).

But what attracted him to the role - aside from the money? And how happy is he playing it?

While acknowledging that Bond must be irredeemably tough, Craig has said he wanted to bring more ‘emotional depth’ to the role. ‘He’s a killer. He kills for a living,' explains Craig, 47. ‘But it’s an honour to play him. I get such a big kick out of doing it. I had an opportunity with Casino RoyaleCasino Royale to wipe the slate clean. Although I’m not saying it was a rebirth of Bond - that sounds conceited - I was a huge fan of Bond before. But I couldn’t just do a movie where I would straighten my tie and drink a Martini. It’s all been done. It had to happen in the right way. And we’ve done that. That for me, as an actor, is so important.’

What he most admires about Bond, he says, is ‘his inner conflict.

When he’s knocked down, it's how he gets up. He takes a lot of battering and so he should, he’s an agent. But it’s how he stands up against adversity because he’s one against many.’

But after half a century, and five previous Bonds, why is the public still so interested in 007? Craig has a simple theory. ‘You simply stick to the old adage that a good story goes a long way. And blow s*** up rvery half an In hour. That's how it's done,' he laughs.

Of Course there have been other projects in between his three Bonds, which have bolstered his movie-star status: in 2011 he played journalist Mikael Blomkvist in The Girl With The Dragon Tattoo, and the same year starred in Dream House, alongside wife Rachel Weisz.

Craig made his debut in Casino RoyaleCasino Royale in 2006, and admits he did have slight concerns about being typecast. ‘I remember saying, “If this is the last thing I do in my career, then that would be OK” because come on - it’s not that bad a role to have under your belt. But after Casino RoyaleCasino Royale I panicked a little about people only seeing me a certain way and I started thinking, did I need to play someone totally opposite from Bond? But as time goes on, I’ve relaxed about that attitude.’

The role meant he had to work out and tone up - not least because he does many of his own stunts. In SpectreSpectre, filming shut down after he injured himself.

'I damaged my knee a third of the way through shooting and we shut down for two weeks while I went away for surgery,’ he says. ‘I’m all right. I’m a hell of a long way from perfect.’

The greatest misconception, he says, is that he is anything like his famous alter-ego. ‘I’m not strong and macho,’ he says, while conceding that he spends much of SpectreSpectre bare-chested. ‘It’s so funny that people have this image of me as the hard man when that’s really not me.

‘I’m not James Bond. I am genuinely not him. I don’t need any of his lifestyle. I’m just an actor, folks - it’s acting.’

He does, however, like beautiful clothes. ‘One of the perks of this gig is that I get sent nice clothes, but I’ve always liked tailoring. My grandfather was a tailor.’ He can't see Bond married and settled with a family. ‘He's a spy. Everyone he falls in love with dies,’ he says. Yet women adore him because he’s dangerous. ‘It’s as simple as that.’

It’s six years since he took on the role. He’s signed for one more Bond film after SpectreSpectre, but how long can he keep going? ‘It's getting easier because I’m doing less [stunt work],’ he says, with a laugh. ‘I’ve got so many good doubles.’ He admits, however, that Bond requires ‘I work myself to death’ to get fit. ‘It’s getting harder. But such is life. I’ll keep going as long as I’m physically able. I’m contracted for one more - but I’m not going to make predictions.’

He still finds it exciting to make the films. ‘These movies don’t get made very often,’ he says. ‘It’s just the fourth time for me, a spit in the ocean. If you don’t get excited about making a movie of this size with this cast, with Sam Mendes... then go home.


‘Bond will always be perfect,’ says costume designer Jany Temime.

‘Everything tailored for Daniel comes from Tom Ford. His suits are tight-fitting, to show off the fruits of his hard work in tne gym. Daniel had six new suits and a tuxedo, plus sports clothes (not from Tom Ford). For the easy outfits we have ten copies, for the action ones up to 40 copies. In Mexico we had 20 of those suits in four different sizes because every stunt man is also wearing the same suit in various stages of distress: the clean one; the dirty one; the one with a rip in the back...’

'Daniel eats up the screen'

Bond’s bosses on what makes him tick

SAM MENDES, DIRECTOR: ‘Fleming’s Bond is a contradiction: a self-hating hero; a secret agent, whose name and habits are known the world over; an unknowable, dark, mysterious man, who millions of men want as their avatar. Bond is a man entirely of his time (the early Sixties, the Cold War, a time of martinis and cigarettes and fairly dodgy sexual politics), who has become a man who transcends period. He is, as Philip Larkin puts it. ‘forever crouching under extinction’s alp’, and yet he has become the centre of the longest-running franchise in the history of movies.’

BARBARA BROCCOLI, PRODUCER: Bond is a very internal character. When you read the books there’s so much going on in terms of ideas and conflicts within his head that he doesn’t verbalise. Daniel is able to translate all of that, to put all that emotion on the screen. When he’s acting he eats up the screen. You can’t take your eyes off him. He’s so magnetic and charismatic. He brings a lot of humanity to the role. The films are escapist entertainment but they also reflect the times. You look back through the series and you can see where the world was at different times. We try to keep them as kind of contemporary as possible. We live in a serious world right now - a dark place.’

Photo: Craig on set with director Sam Mendes


‘Daniel is heavily involved with discussing and executing his own action scenes. He knows what works for Bond. And he’s always improvising, adding his little details. A classic example of that is the scene on the train in SkyfallSkyfall when he adjusts his Tom Ford cufflink after being shot in the shoulder. He’s very funny. When he’s filming an action scene, he’s absolutely focused, then he switches the humour on when the time is right.’

SpectreSpectre by numbers

£1m - The cost of each Jaguar C-X75-a hybrid-electric, two seat concept car (SpectreSpectre had five of them)

100 special effects crew on SpectreSpectre - in MoonrakerMoonraker there were just 20

20 The average units of alcohol consumed by Daniel Craig’s 007 on screen, making him the booziest Bond ever

£24m The amount spent on cars destroyed during filming of SpectreSpectre

53 The number of characters already killed by Daniel Craig’s 007 (we think there’s going to be a lot more when SpectreSpectre opens!)

500 workers in the second unit (Austria) whose job was to keep 50,000 square metres or set covered with three feet of fake snow (and in pristine condition)

50 The number of stunt men on the ground during the spectacular opening helicopter scene

Bond Girls


The action girl

LEA SEYDOUX plays Dr Madeleine Swann. Kidnapped by SpectreSpectre, the psychologist transforms herself into a rebellious girl who’s every bit Bond’s equal.

For SpectreSpectre. I needed to overcome a lot of fears. I was scared to be in the desert, scared to go up a mountain, scared of stunts. I’m scared of open spaces. I’m scared of flying. Basically I’m scared of everything in life. With acting I’m afraid right up until the moment that the camera is on me.

Only when I'm acting am I able to live in the moment. The most frightening moment was when I had to leapt eight metres from a building at Pinewood. I don’t like heights so this was particularly daunting. We nailed it in two takes. Maybe SpectreSpectre has taken me to the end of fear.

My character Madeleine Swann is a rebel. She’s the daughter of an assassin and her father {Mr White, Bond’s former adversary in Casino RoyaleCasino Royale and Quantum of SolaceQuantum of Solace] is the key to unlocking many of the mysteries in this plot. The Bond girl was a stereotype Bond girl, very sexy, but while Madeleine sleeps with Bond this time it's different. She doesn’t need him or wait for him to save her.

It’s almost political this film. The producers really thought through the project in a feminist way. My character is Bond’s equal. She doesn’t need Bond, she doesn’t want to be part of his world.

I think this is what’s new in the film. It’s not what you expect from a Bond film. It’s a much more intense, complex and deep relationship. They have left the ending of this movie very open. It’s ambiguous. Does that mean that this is Daniel’s last Bond movie? I could not say for certain. Anything is possible, right?

'I'm not a Bond girl... I'm a Bond Lady'

MONICA BELLUCCI, at 50 the oldest Bond Girl, plays Lucia Sciarra, whose Mafioso husband is murdered. To ensure her safety she makes a dangerous pact with Bond.

I can’t say I'ma Bond Girl because I’m too mature to be a Bond Girl. I say Bond lady; a Bond woman. A woman of 50 will never have the energy of a woman of 20. At 40 all women are survivors. At 50, maybe it’s time for a woman to reinvent herself.

I don't stress myself about my looks. I don't think skinny is beautiful. I’m a woman and I have curves. But I’m just too lazy! I never go to the gym. And I love to eat chocolate and pasta and go out to restaurants with friends. I'm not obsessed with being skinny.

Lucia is at a crossroads in her life - a prisoner of the past. She

comes from a culture and time where men have all the power. She is looking to be free of that. Bond proves to be a way out.

When Lucia first meets Bond she doesn’t trust him. He’s a man in control like all the other men she has ever known. But the sense of danger is maybe his greatest quality.

How good a kisser is Bond? Kissing someone you don’t know on screen can be intimidating.

Of course, Daniel is such a sexy man and that helps. He brings that to Bond, along with a sense of mystery and danger. We all love n little danger.

Miss Moneypenny

NAOMIE HARRIS plays Eve Moneypenny,

M’s secretary.

Boris Johnson said Bond should relight all of London. We did a lot of night shoots by Big Ben and Westminster Bridge, and our director of photography made the city look so beautiful.

I hope Bond and Moneypenny have a romantic future. If there’s a future for them, there’s a future for me!

The 'brief encounter' Bond girl.

STEPHANIE SIGMAN plays enigmatic Mexican beauty Estrella during the opening sequence. Likely to be a ‘brief encounter’ Bond girl and meet a sticky end.

Bond is a legend - it’s iconic, so people go crazy about it here. That’s why you saw so many people out on the streets watching the filming. There were thousands.

I couldn’t go to the Bond audition because I was sick. I was really skinny. I had got food poisoning from eating Birria. It’s like a really spicy soup, with goat meat, and I think that upset me.

I went to the hospital and I was really weak. I couldn’t walk. But I could stand and say lines, so I taped myself.

Now 1 have something to say to my grandchildren. I’ll he able to say: ‘I was a Bond girl. Look at me!’ And that’s a great thing to be able to say.

Bond Letters - Take this down, Miss Moneypenny

This unseen cache of Ian Fleming’s correspondence - published in a brilliant new book - reveals what really drove him to write his fire Bond... and how a gun-crazy fan became his most trusted adviser"


In 1956a gun specialist in Glasgow, Geoffrey Boothroyd, who had been reading the Bond books, wrote to Ian Fleming to recommend an upgrade in 007's armoury...

From Geoffrey Boothroyd,

Glasgow, May 23,1956 I have, by now, got rather fond of Mr James Bond. I like most of the things about him, with the exception of his rather deplorable taste in firearms. In particular 1 dislike a man who comes into contact with all sorts of formidable people using a .25 Beretta. This sort of gun is really a lady's gun, and not a really nice lady at that. If Mr Bond has to use a light gun he would be better off with a .22 rimfire, and the lead bullet would cause more shocking effect than the jacketed type of the .25. May I suggest that Mr Bond is armed with a revolver? If Mr Bond gets himself an S&W .38 Special Centennial Airweight [Smith & Wesson, one of the biggest gun manufacturers in the US] he will have a real man-stopper weighing only 13oz...

From Ian Fleming,

May 31,1956

You have entirely convinced me, and I propose, perhaps not in the next volume of James Bond's memoirs but in the subsequent one, to change his weapons in accordance with your instructions... As a matter of interest, how do you come to know so much about these things?

From Geoffrey Boothroyd,

June 1,1956

If 1 am to be considered for the post of Bond’s ballistic man 1 should give you my terms of reference. Age 31, English, unmarried. Employed by ICI Ltd as Technical Rep in Scotland. Member of the following Rifle Clubs:

NRA, Gt Britain, English Twenty Club, National Rifle Association of America, nonresident member, St Rollox Rifle Club, West of Scotland Rifle Club, Muzzle Loading Association of Gt Britain. 1 shoot with shotgun and rifle, target, clay pigeon, deer, but, to my deep regret, no big game. (I cherish a dream that one day a large tiger or lion will escape from the zoo or a travelling circus and I can bag it in Argyle St, or Princes St, Edinburgh.)

Bond has a good point when he mentions accuracy. It’s no good shooting at a man with the biggest gun one can hold - if you miss him. The thing about the larger calibres is, however, that when you hit someone with a man-stopping bullet they are out of the game and won’t lie on the floor still popping off at you.

I think you will find that silencers are more often found in fiction than in real life. I can’t see how one would fit a silencer to a Beretta unless a special barrel were made for it, as the silencer has to be screwed on to the barrel projecting in front of the slide on the Beretta.

This business of using guns in houses or hotels is a very strange one. So few people are familiar with what a gun sounds like that I would have very little hesitation in firing one in any well-constructed building... I have fired .455 blanks at home on several occasions even in the middle of the night without any enquiries being made. The last time was at Christmas when I blew out the candles on the Christmas cake with a pistol and blanks.

From Ian Fleming,

July 12,1956

The jacket of my present book... will consist of a revolver crossed with a rose and it should be a very handsome affair. I have looked in vain for a Beretta .25. If I fail to find one, would you care to have your own Smith Et Wesson made forever famous?

Boothroyd subsequently sent his Smith & Wesson .38 pistol to Fleming for his book jacket designer to borrow -and then ten days later wrote with news of an unwelcome development from Geoffrey Boothroyd, September 18,1956 I have just had a visit from our local CID... The reason for this uncalled-for interest in my collection is due to a very misguided character who slew two ladies and a girl on the outskirts of Glasgow on Sunday night using a .38 pistol... I told the two CID chaps that the pistol was in London in your possession... it is possible that the wheels of the Law may (a) call upon you to make sure that the pistol is where I said it was, and (b) ask you if you have a Firearms Certificate... It is a funny world, the most unlikely events cause repercussions all over the place and our gunman friend would have to choose this time to go shooting people and he would have to use a .38. Incidentally, no one heard the sound of the shots, which goes to prove my point about firing off guns.

From Ian Fleming, October 1,1956 ...The telephone rang and there was Chief Inspector Blake of Scotland Yard very full of ‘urns’ and ‘ahs’ and ‘on the 16th instants’. Fortunately I was able to give him the number of my revolver licence which also covers a .38 Colt Police Positive, and I explained at length that you were very much an innocent party to what was, in any case, quite within the law, and he retired satisfied.

In 1962, on Fleming's recommendation, Boothroyd was hired as firearms consultant on the first Bond film, Dr. NoDr. No.

In 1958 Fleming wrote a letter to the Manchester Guardian in response to an article which had condemned the novels as ‘symptomatic of a decline in taste'.

From Ian Fleming, April 5,1958 Sir, I am most grateful for the scholarly examination of my James Bond stories in your leader columns on Monday but... I hope you will forgive a squeak from the butterfly before any more big wheels roll down upon it.

It is true that sex plays an important part in James Bond’s life and that his profession requires him to be more or less constantly involved in violent action. It is also true that, as in any real spy-life, when the villain gets hold of Bond, Bond is made to suffer painfully.

What other punishment for failure would be appropriate - that Bond should receive an extra heavy demand note from the Inland Revenue, or that he should be reduced in his Civil Service rank from principal officer to acting principal?

But, as you, sir, put it, 'What is more sinister is the cult of luxury for its own sake - and the kind of luxury held up for the reader’s emulation. The idea that anyone should smoke a brand of cigarette not because they enjoy them but because they are “exclusive” (that is, because they cost more) is pernicious and it is implicit in all Mr Fleming’s glib descriptions of food, drink and clothes.’

I accept the rebuke, but more on the score of vulgarity... To create an illusion of depth I had to fit Bond out with some theatrical props and... I did equip him with a distinctive gun and, though they are a security hazard, with distinctive cigarettes. This latter touch of display unfortunately went to my head. I proceeded to invent a cocktail for Bond (which I sampled several months later and found unpalatable)... The gimmickry grew like bindweed and now, while it still amuses me, it has become an unfortunate trademark.

Perhaps Bond's blatant heterosexuality is a subconscious protest against the current fashion for sexual confusion. Perhaps the violence springs from a psychosomatic rejection of Welfare wigs, teeth, and spectacles, and Bond’s luxwy meals are simply saying ‘no’ to toad-in-the-hole and tele-bickies. Who can say? ... Who, for the matter of that, cares?


Fans of the Bond books wrote to Fleming on points of esoteric factual inaccuracy, to request salacious plot elements, and even to express surprise at finding his hero named after their ornithologist husband - and Fleming would often reply....

From Ian Fleming, April 9,1956 To Geoffrey M Cuckson, Nottingham, who had admitted a 'weakness for girls in bondage', and suggested that 'Tiffany (or her equivalent) bound in a frogman's suit would be really something!'

I will certainly see what I can do to find you a girl in a frogman’s suit.

From Ian Fleming, May 29,1956 To John G Ryan, commercial division manager, Shannon Airport, Ireland. Mr Ryan had complained that in Diamonds Are ForeverDiamonds Are Forever, Fleming had referred to ‘the junk in the airport shop, the ‘Irish Horn Rosaries', the 'Bog Oak Irish Harp' and the ‘Brass Leprechauns' all at $1.50 and the ghastly 'Irish Musical Cottage' at $4.00.

I am gi'eatly impressed that Shannon should have taken cognisance of my lighthearted thriller. I often come through Shannon, and it will certainly be a great pleasure to meet you on my next visit and apologise in person for my happy-go-lucky references to the goods on offer in your shops. Perhaps by then all the Bog Oak Irish Harps and Brass Leprechauns will have been bought up by the GIs!


To Mrs James Bond, Pasadena,

USA, June 20,1961 Your husband has every reason to sue me in eveiy possible position and for practically every kind of libel in the book, for I will now confess the damnable truth.

I have a small house which I built in Oracabessa in Jamaica just after the war and, some ten years ago a confirmed bachelor on the eve of marriage, I decided to take my mind off the dreadful prospect by writing a thriller.

I was determined that my secret agent should be as anonymous a personality as possible, even his name should be the very reverse of the kind of ‘Peregrine Carruthers’, whom one meets in this type of fiction.

At that time one of my bibles was, and still is, ‘Birds Of The West Indies' by James Bond, and it struck me that this name, brief, unromantic and yet very masculine, was just what I needed and so James Bond II was born, and started off on the career that, I must confess, has been meteoric, culminating with his choice by your President as his favourite thriller hero...

In return I can only offer your James Bond unlimited use of the name Ian Fleming for any purposes he may think fit. Perhaps one day he will discover some particularly horrible species of bird which he would like to christen in an insulting fashion...


Ian Fleming had the same publisher,

Jonathan Cape, for all his James Bond novels, corresponding mostly with his editorial mentor, William Plomer, from his waterfront house in Jamaica, GoldeneyeGoldeneye (pictured left), where he wrote them during the English winter.

From Ian Fleming, Feb 14,1956 Forgive this tropic scrawl I am sitting in the shade gazing out across the Caribbean St it is heroic that I am writing at all. But I must congi-atulate you on the jacket [for 'Diamonds Are Forever’]... I feel a soupgon of cleavage would have helped, but I know your politics on that - St there must be a credit line with ‘Diamond clip by Cartier’... Have done 52,000 of the next. Can’t tell what it’s like, but it goes fast St has been fun. Bit too much body hair St blood perhaps... Must stop. There’s a lobster to be speared St then as the sun sets St the fireflies come out a man called DARKO KERIM is going to shoot a man called TRILENCU with a SNIPERSCOPE.

From William Plomer, June 18,1957

I’ve greatly enjoyed Dr. NoDr. No - and so will, I hope, millions of other readers... I think my favourite moment is when Dr. NoDr. No taps his contact-lenses with his steel claws. (I've been practising with my biro on my spectacles but it doesn’t ring true.)


The playwright, composer, actor and singer Noel Coward was a neighbour of Fleming's in Jamaica.

From Noel Coward, Firefly Hill, Port Maria, Jamaica, May 6,1958

Dearest Beast,

I have read Dr. NoDr. No from cover to cover and thoroughly enjoyed every moment of it... I am willing to accept the centipede, the tarantulas, the land crabs, the giant squid (except on that beastly table at GoldeneyeGoldeneye)... but what I will neither accept nor forgive is the highly inaccurate statement that when it is 11am in Jamaica, it is 6am in dear old England. This dear boy, not to put too fine a point on it, is a f****** lie... and it is carelessness of this kind that makes my eyes steel slits of blue. I was also slightly shocked by the lascivious announcement that Honeychile’s bottom was like a boy's! I know we are all becoming progressively more broadminded nowadays but really old chap what could you have been thinking of?


When the first Bond film, Dr. NoDr. No, was filmed in Jamaica, Fleming found a job for his mistress Blanche Blackwell's son Chris, who went on to record Bob Marley and U2 for his Island Records label.

From Ian Fleming, October 25,1961 The Company has written to Christopher giving him most of the dope and asking him to be their local contact and production assistant on Dr. NoDr. No... The suggested location is the Morant Lighthouse area with those swamps behind and the beach you and I know. They also want to do all their musical score for the picture in Jamaica, and this should be a real chance for Christopher to seek out talent and lease them his recording studio... The man they have chosen for Bond, Sean Connery, is a real charmer - fairly unknown but a good actor with the right looks and physique...

‘The Man With The Golden Typewriter: Ian Fleming’s James Bond Letters’, edited by Fergus Fleming, is published on October 8 by Bloomsbury, priced £25. Offer price £20 (20% discount), until October 11. Pre-order at mailbookshop.; pStp is free on orders over £12

Bond Cars



Your mission, Chris? Take a thrilling top-secret test drive in one of the ten Aston Martin DBlOs specially made for SpectreSpectre. Oh, and Evans, do bring it back in one piece... _

One week after the hottest day of the year in the UK. And what do we have? Angry, dark clouds thundering towards us over the Surrey hills and a maximum temperature of somewhere around 17°C. ‘But you can’t have everything,’ I think as I pull up in front of the red-and-white barrier at the entrance to the Longcross test track.

After swearing an oath of secrecy and signing my life away several times, I’m here to drive the Aston Martin SpectreSpectre DB10. Ten have been produced in total for the film (two ‘hero’ cars for close-up shots and eight stunt cars). And as with previous collaborations, no money, not a penny, has changed hands between Bond producers EON and Aston Martin.

I’ve been a fan of Bond ever since being taken to see The Man With The Golden GunThe Man With The Golden Gun at the cinema. My sister and I were on holiday with mum and dad in Llandudno, Wales - it was a rare afternoon treat. I couldn’t believe how bright it was when we came back out into the afternoon sunshine.

And now here I am, 31 years later, with Marek Reichman, Aston's design through the ‘wow’ design of the work of art that sits in front of me.

For me, the coolest cars in Bond history so far have been the Lotus Esprit that Roger Moore drove out of the sea in The Spy Who Loved MeThe Spy Who Loved Me and the Aston Martin DB5 with the revolving number plates from GoldfingerGoldfinger. Sean Connery actually had a DB5 in real life - whether it was a freebie or not I don’t know - and he used to gun it from his London home to his beloved Sunningdale Golf Club. I suspect Connery is the best of the Bond actors behind the wheel.

I was once the proud owner of both those cars. The Esprit was as fragile as a bird’s nest - the front axle disintegrated the first time I hit a pothole on Ascot High Street - and the DB5 was a bit rickety as well, to be honest. Never meet your heroes!


As well as GoldfingerGoldfinger, the DB5 made a cameo in Sky fall - the film that gave me my best ever Bond moment. Half of London was shut down for the premiere at the Royal Albert Hall and thousands of fans thronged the streets. It was regal, elegant and jaw-dropping - the next best thing to being in a Bond film.

But the most incredible bit was the scene in which Bond goes to a mews house and opens the garage to reveal the DB5. A massive cheer went up, the sort of cheer you’d expect to hear when audiences first watched Ursula Andress emerge from the water in Dr. NoDr. No. But this cheer was for a car!

So the DBIO has a lot to live up to. But how, I asked Marek, did they go about designing it in the first place?

‘When Barbara Broccoli contacted us and said “Sam [Mendes] and I would like Bond to drive an Aston again in Spectre”, we were thrilled,’ says Marek. We immediately suggested that they came to see what we were up to with regards to the future.’

And come indeed they did, to Marek’s ‘cathedral of design’ at Aston Martin’s headquarters in Gaydon, Warwickshire, a breathtakingly beautiful place designed by... guess who? Marek himself, of course.

‘There’s a lot of glass so we get great light,’ Marek explains. ‘And as it’s north-facing, I don’t get any direct sunlight on the clay models. The location of everything and everyone within is all about flow. This enables us to see as much of everything as possible. The more you look at something, the more you see, and the more angles available, the more critical we can be.

‘I’m the boss, but I’m ultimately reliant on my team like a conductor might be with an orchestra. If the second violin isn’t in tune, it throws everyone else out. Everything has to gel and work together. Consequently, we are constantly reassessing every millimetre of surface area right up until the moment a car has to be signed off.’ During their visit, Broccoli and Mendes were allowed unprecedented access to everything Marek and his lab team had in development. The result of which is the first car ever designed exclusively for Bond.

‘May we have ten of those please?’ they asked. ‘Ready for shooting within five months.’

‘From sketch in April to ten driving cars in September should have been impossible,’ says Marek, ‘but of course nothing is really impossible, it’s just that some things haven’t been done yet.’ What a challenge - but what a result! It’s truly stunning. Even better in the flesh than the few images that | have been thus far released. And there ^ are six subtle yet dominating features 2 that for me have catapult the DB10 straight into the automotive design hall of fame:

The wheels are mesmerising, looking like they’re permanently rotating even when they’re not. ‘They’re what we call directional spokes,’ says Marek. ‘They are diamond-turned, creating the illusion of a jewel-like finish, which accentuates the virtual movement.’

At the front of the shark-inspired nose the grille seems to be more glowering than ever, but there’s a twist. ‘It’s all about the illusion rather than the reality,’ Marek explains. ‘Actually, the grille is more in shadow than it’s ever been, but that’s where we humans come in, as we complete the lines in our head. They’re never actually there.’ Another inaugural signature are tiny holes in the bonnet instead of louvres. ‘These suggest a more integrated airflow when the car is filmed moving, as well as providing better reflective surfaces when shot at night. Remember, in our heads, designers see everything as if it’s moving, never stationary.’ Then there’s the Zagato-inspired ‘twin roof pod’ design, back but not as we’ve ever known it before.

The header swage lines [the crease lines of the car’s roof] are more aggressive than in the past, adding strength to the overall structure - not to mention looking super-cool, of course.

And who doesn’t love an integrated whale tail? ‘I love that too - far more natural, as if it’s evolved over thousands of years rather than been manufactured by man and machine.’

But most important of all is the car’s defining waistline. Which for the first time in decades falls towards the rear as opposed to continuing to rise into a wedge shape. Only the DB4 Zagato and the early DBs have ever done this before.

Aston Martin is definitely going to bring out a new sports car based on this thus far elusive Bond exclusive, Marek assures me. We all need to start going to church for the next couple of years methinks. For this motor car is a magnificent thing to behold.

Will it simply be called the Aston Martin SpectreSpectre? Why not? And talking of simple, as our discussion drew to an end Marek threw in this gem: ‘When it comes to design, the more simple you keep it, the more of a shot it has of achieving immortality.’

And with that, here’s to Bond, British engineering at its most brilliantly sublime, and a few hours next to the M3 I will never forget, as long as I live.

I realise I haven’t told you what the DBIO was like to drive. Largely because I didn’t really drive it, as was I more of a passenger. I mean, I did have a go, but seeing as Mark Higgins, SpectreSpectre’s chief stunt driver and ex-World Rally champ was on hand, I thought it might be a better experience for both of us if he took the lion’s share of our time together behind the wheel.

For the whole duration I tried to stop my face splitting from the constant ear-to-ear grin etched across it, and the light lunch I’d enjoyed a moment earlier from becoming re-acquainted with afternoon tea. Mark is without question the greatest wheelman I have ever been in a car with. We were sideways both right and left at goodness knows how many miles an hour for 95 per cent of the time we were out on track.

Extraordinary. Which is what you have to be if if s your job to make James Bond look cool.

tech spec

Engine: 4.7-litre V8 petrol
Transmission: Six-speed manual
0-60mph: 4.7 seconds
Top Speed: 190 Mph
Ejector seat: Yes

And the verdict?

‘A magnificent thing to behold, this is British engineering at its most sublime. We all need to get on our knees and pray for Aston Martin to release a version to the public.


The DB10 is NOT going into production and the ten cars built for SpectreSpectre - all of which survived filming -are NOT for sale. But one will be auctioned for charity in 2016.


The car’s chassis is based on a modified V8 Vantage. However, the DBIO has a longer wheelbase and is almost as wide as the liinited-edition hypercar, k the .£1 million A m One-77.

Photo: In profile, the DBIO was designed to have one elegant shoulder line from front to back, a nod to the famous GoldfingerGoldfinger DB5
Above: Bond in the DBIO on the streets of Rome in SpectreSpectre. Left: the Alcantara steering wheel.

Bond Tech

IN SpectreSpectre Gadget

No cyanide darts or hidden guns... but this special edition 007 mobile has a spy-grade camera and screen sharper than an HD TV


Sony Xperia Z5 SpectreSpectre Edition Out next month

During the Roger Moore era, if you’d dared to pick up any gadget in OO^s pocket, you’d have probably got a cyanide dart through your hand for your trouble, or your ear lobe lasered off.

These days, Bond’s gadgets tend to be a little tamer - and even the product placement is a shade more subtle. I’m thinking, specifically, of when Philips used to sponsor the Bond films, and the spy developed a mysterious interest in CD-ROMs, a thunderingly boring office technology that the Dutch company had recently pioneered.

I still think Commander Bond might raise a hirsute eyebrow over this year’s Sony ‘Bond phone’, though. Despite the Xperia range being marketed as waterproof by Sony for some years, the company recently backtracked, saying, ‘Remember not to use the device underwater.’

This would never have happened at Q Branch.

Otherwise, though, Sony has excelled itself when it comes to loading the phones in the ‘Bond phone’ range with gadgetry. The top-of-the-line ‘Premium’ edition Z5 is kitted out with a breathtaking, beautiful, and show-offy Ultra HD 4K screen, the first ever in a mobile.

It does the key thing one wants from any phone these days - it beats iPhone, and silences Apple bores mid-waffle. The screen is four times sharper than Full HD televisions - and with landscape photography, it’s genuinely astonishing. The screen’s full resolution is barely used outside the camera app - but honestly, who cares?

Even the more ordinary phones
in the Z5 range have a completely over-the-top 23-megapixel camera. More importantly, though, it’s among the fastest phone cameras ever - taking pictures in a mere fraction of a second, rather than two or three.

As a man who has entire albums’ worth of photos of my son just AFTER he’s turned the other way, or sneezed, or picked his nose, I can only applaud.

But the most important thing about the Xperia is something that Fleming’s image-obsessed spy would definitely approve of: the look. It’s always been Sony's strong suit - and despite expanding to 5.5in, this year's handset has a slick, business-like appearance that looks effortlessly sharp in a world full of iClones.

Thankfully, there are no 007 logo on it - just a few Bond screensavers and videos that can be discreetly filed away when Specfre-mania dies down.

Like most British men, I love James Bond - and see a distinct resemblance between myself and the lethal international man of mystery - but my fandom does have its limits..


Wrist-mounted device that helps Bond break out of the g-force simulator.

For Your Eyes OnlyFor Your Eyes Only
Like a medieval execution device - it grows spikes then traps its victim inside.

A View To A KillA View To A Kill
Roger Moore’s Bond snoops on Christopher Walken’s Max Zorin with a secret lens.

The World Is Not EnoughThe World Is Not Enough
Not yet a Bond weapon, but Pierce Brosnan saw this in the Q Branch laboratory.

007 makes an aerial escape after killing SpectreSpectre agent No. 6, Jacques Bouvar.

Bond Food

Kive and let dine

Ian Fleming loved 'good English food without bad English cooking'. Which is why he sent his picky hero to Scott's

By Tom Parker Bowles

I’ll take you to Scott’s and we’ll have some of their dressed crab and a pint of black velvet’ (Diamonds Are ForeverDiamonds Are Forever). An invitation that's always hard to turn down, especially when it comes from James Bond, a man as adept with knife and fork as he was with his Walther PPK. Back then, Scott’s was on Coventry Street, along from Piccadilly Circus. And in between smashing Smersh and sampling various international, er, delicacies, Bond was a fan.

He even had his favourite table, the ‘right-hand corner table for two on the first floor’, where he could watch ‘people and traffic’. And it was here he combined three of his great loves: eating, drinking and women (W'omen were for recreation. On a job, they got in the way and fogged things up with sex and hurt feelings...’ Oh James, you charmer, you), three loves shared by his creator, Ian Fleming.

‘Be an angel, Penny,’ Bond says in You Only Live TwiceYou Only Live Twice, ‘and ring down to Mary and tell her she’s got to get out of whatever she's doing tonight. I'm taking her out to dinner. Scott’s. Tell her we’ll have our first roast grouse of the year and pink champagne. Celebration.’

Celebration indeed. Despite a playboy reputation (caviar, foie gras and lobster), Bond's tastes, like that of his creator, tended towards the ‘ordinary plain food of the country\ Scrambled eggs, cooked over a low heat, with crisp bacon; very strong black coffee, from De Bry in New Oxford Street; a speckled brown Maran egg, boiled for ‘three and a third minutes.' Good toast with ‘deep yellow Jersey butter' and Cooper's Vintage Oxford Marmalade. Indeed, Fleming extolled the virtues
of our national tucker. ‘I think good English food is the best in the world,' he wrote in April 1958. Native oysters, ‘all English fish, particularly Dover soles’, potted shrimps, English vegetables and fruit, savouries and lamb cutlets. Plain, upper-class, St James’s Club tucker.

‘The problem in England,’ he went on, ‘is how to eat good English food without bad English cooking.’ The answer to this culinary conundrum? Scott’s, of course, now in Mount Street and part of the Richard Caring empire.

As elegant and discreet as ever, Scott’s is the sort of place where nothing is too much trouble. ‘A chital leg for your beautiful pet tiger? Of course. We’ll get on to that straight away.’

It starts with Sean, the legendary doorman, who knows where all the bodies are buried. And continues, past die smiling coat lady and on into the restaurant proper, which is infused with subde, well-cut charm. Even the usual restaurant hubbub is somehow distilled here into a low, sonorous purr.

In the centre, a gleaming crustacean altar, with a marble topped bar curving sinuously around. Bond would be very much at home. A dozen West Mersea natives (No 2, of course, the very best size, neither meanly minuscule or impertinently gross) serve to only reinforce Fleming’s views on great English ingredients; a mouthful of bracingly briny, muscular sweetness, too good to sully with lemon and Tabasco.

Then dressed crab, clean and fresh and respectable. But where is the brown meat? That’s where all the filthy fun is, and I only get the merest splodge mixed into the mayonnaise. Plus, I find a couple of shards of shell in there too. At these prices, that’s about as welcome as a shark in a swimming pool.

I’m not sure Bond would be familiar with ceviche, but the Scott’s version would make a joyous introduction. The bass, spanking fresh, has only the most fleeting of flirtations with the lime juice, which means its flavour is very much intact. Perfectly seasoned too, although more chilli would never go amiss.

Dover sole is vast, handsome and peels gently off the bone. Beautifully cooked too. As is the grouse, young, sweet and luscious, served with a pile of clove-scented bread sauce and a river of clear, thin gravy.
Simple things, done very well indeed. Even tomato salad, so often chilled and mealy-mouthed, is room temperature and bursting with luscious delight.

Rather than pudding, we go savoury. So much more civilised. A fat Welsh rarebit, and one that would even impress at Blades, M’s club in St James’s Street. Because the food at Scott’s is fundamentally upper-class English, with a few foreign jaunts thrown in.

And it comes at a price, because this sort of gilded service don’t come cheap. Hell no. In fact, the only real downside of the place is the price. Even the most flexible of expense accounts might blanch when the bill arrives. Especially if you’re drinking. Sure, Bond might have stretched to a Mouton Rothschild '47. But for us mere mortals, nearly £50 for a bog-standard Albarino is enough to make even GoldfingerGoldfinger blink.

Still, Scott’s is a treat, a place that always sends a tiny shiver of excitement down the spine of this jaded old hack. Because when it comes to smart, spot-on seafood cooking, nobody does it better. Lunch for two: £140

Photo: From left: bakewell pudding with ice cream; Sean Connery in From Russia With LoveFrom Russia With Love', shellfish at Scott’s

Bond Drink

Licence to Swill

Swallowed the myth that 007 is just a Martini man? The tmth will leave you more than shaken and stirred...


W hat’s the first rule of drinking like Bond (though not like Daniel Craig’s 007, who is apparently the booziest of all the screen Bonds)?

Well, surprisingly, don’t just order | a Martini but sip the local stuff. In o For Your Eyes OnlyFor Your Eyes Only, Sir Roger Moore | overrides the choice of villain Aris ^ Kristatos by choosing a local wine from Corfu. Sean Connery’s Bond | drinks sake in Japan in You Only Live s Twice and quaffs a mint julep in Kentucky made with the local bourbon in Goldfiriger.

The second rule for 007 is to learn to adapt, as Bond's booze varies according to what’s on offer and shows off his inventive streak in creating new flavours.

Daniel Craig’s 007 portrayal follows Ian Fleming’s books in his maverick drinking style, spontaneously making up the famous Vesper Martini in Casino RoyaleCasino Royale: Three measures of Gordon’s; one of vodka; half a measure of Kina Lillet. Shake it over ice, and add a thin slice of lemon peel.’

Kina Lillet, incidentally, is a blend of 85 per cent wine (Semillon grapes) and 15 per cent fruit liqueurs (based on various fruits, barks and peels) aged in oak barrels, which today is just known as Lillet - you can find it on Amazon for £15.75.

But 007 doesn't just adapt what he drinks, he changes how he drinks too. In GoldeneyeGoldeneye, for instance, a secret fridge pops open in Pierce Brosnan’s Aston Martin DB5 and there sits a perfectly chilled bottle of Bollinger Grande Annee 1988.

When I drove the Vanquish recently, I didn’t spot any cooling device in the cockpit, but it would be the perfect place to stash the Champagne Bollinger SpectreSpectre
Limited Edition, a special-edition fizz for diehard Bond fans.

That will be available at £125 from from October 1, but for a less pricey option Bollinger Special Cuvee is excellent fizz from Bond’s Champagne house of choice, widely available and on special offer in Waitrose down from £44.99 to £34.99 until October 13.

Each actor brings his own nuance of drinking to the role: Pierce Brosnan, for example, greedily guzzles a mojito in Die Another DayDie Another Day, while Timothy Dalton favours a glass of Jim Beam bourbon in The Living DaylightsThe Living Daylights. But to really drink like Britain’s best-known spy, just keep the contents of your hipflask a total mystery, following George Lazenby’s example in On Her Majesty's Secret ServiceOn Her Majesty.


The Society’s Chambery Vermouth (17.5%)
Wine Society My pick to shake and not stir in your Martini for its unbeatable value, quality, polish and zing.

Marks and Spencer Thympiopoulos Malagousia 2013(12%)
Not exactly what Bond drinks in For Your Eyes OnlyFor Your Eyes Only but a scrumptious peachy Greek body double.

...LIKE CRAIG The Macallan Fine Oak 10-Year-Old (40%) Approachably mellow and sipped by 007 during SkyfallSkyfall, when he lifts a bottle from a Turkish beach bar.

... LIKE SpectreSpectre Bollinger R0 2002
The Finest Bubble Likely to be Bond's Champagne choice in SpectreSpectre. It’s like an ejector seat propelling your tastebudsto the stars.

Chase Original Vodka (40%) Waitrose Creamy texture, bright refreshing British buzz. My pick to be shaken not stirred.

Picture Exclusive

Really, Bond! You burned £24m in SpectreSpectre... just on blowing up cars?

Photo: WRITTEN OFF: The villain’s Land Rover is engulfed by a fireball after an Alpine chase in Daniel Craig’s latest outing as James Bond

By Jonathan Petre
WHEN it comes to boys and their toys, there is little more desirable than a James Bond car - but that didn’t deter the makers of SpectreSpectre from blowing up a record £24 million worth of them in the latest 007 extravaganza.

During the filming of the most spectacular and expensive Bond movie ever, a total of seven specially designed Aston Martin DB10 sports cars were destroyed.

In one heart-pounding car chase alone - in which the secret agent’s Aston Martin is pursued at high speed by a villain in a Jaguar C-X75 through the streets of Rome - millions of pounds worth of high-performance vehicles were written off.

The chase took place in the Vatican, the Colosseum and along the River Tiber, with producers having to weigh up the risk of a car skidding into the Vatican, which would have been ‘catastrophic’.

In another extraordinary scene, a full-size aeroplane piloted by Bond ploughs through an Alpine barn only to career into the villain’s Land Rover, reducing it to a flaming wreck. Inevitably, the imperturbable spy, played for the fourth time by Daniel Craig, walks away unscathed.

Details of the eye-popping stunts, which also include a mid-air struggle on a helicopter’s landing gear, are revealed in a special edition of today’s Event magazine with The Mail on Sunday, the only official insiders’ guide to the making of the -£200 million movie. Speaking exclusively to Event, which was given unprecedented access to the set, chief stunt co-ordinator Gary Powell, said: ‘We set the record for smashing up cars on SpectreSpectre.

‘In Rome, we wrecked millions of pounds worth. They were going into the Vatican at top speeds of 110 mph.

We shot one entire night for four seconds of film.’ Ten sleek Aston Martin DBlOs, equipped with the famous ejector seat, were specially created for SpectreSpectre, 51 years after Sean Connery drove the iconic DB5 in GoldfingerGoldfinger.

UK viewers will be first to see SpectreSpectre, with a London premiere on October 26. US audiences will have to wait until November 6 to see Bond’s wrecking spree.

Fleming made 007 to take mind off new wife

JAMES BOND is notorious for never staying with the same woman for long - and it seems his creator Ian Fleming also had qualms about settling down.

In a previously unpublished letter that appears in today’s Event magazine, Fleming, himself a serial womaniser, revealed that he invented 007 to take his mind off his impending nuptials. The Eton-educated author married divorcee Ann Charteris in 1952, the same year he wrote his first Bond book, Casino RoyaleCasino Royale. Both would go on to have affairs during their marriage.

In the letter, written in 1961 to the wife of an ornithologist called James Bond, Fleming said he chose the ‘unromantic yet masculine’ name after seeing it on a book about birds. He added: ‘Some ten years ago, as a confirmed bachelor on the eve of marriage, I decided to take my mind off the dreadful prospect by writing a thriller.’ Fleming’s books have been criticised for their attitude towards women, but the latest Bond girl believes the role has been brought up to date. French actress Lea Seydoux, left, told Event: ‘My character is Bond’s equal. She doesn’t need Bond. She doesn’t want to be part of his world. She’s not impressed.

‘It’s not what you expect from a Bond film. The producers really thought through the project in a feminist way.’


[Source: Sunday September 27, 2015 Edition of The Mail on Sunday, P.13, & Mail on Sunday Event Magazine, P1-35. Copyright © 2015 Associated Newspapers Ltd. SPECTRE © 2015 METRO-GOLDWYN-MAYER STUDIOS INC., DANJAQ. LLC. AND COLUMBlA PICTURES INDUSTRIES. INC. All rights reserved.]

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Daniel Craig on his Decade as 007

James Bond Returns

Spectre - seen it all before?

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