All language subtitles for Icons.Unearthed.S05E03.Changing.Times.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

[Gloria Hendry] In 1969,

the sixth Bond film
was released

featuring a Bond
no one asked for...

Majesty's was over budget.Majesty's was over schedule.

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

[Hendry] ...and no one
seemed to want.

At the time, it wasn't seen
as much of a success.

[Hendry] Cubby and Harry
were dealing with

their first serious Bond flop.

This never happened
to the other fella.

[Hendry] All this
on top of a Bond flip.

Lazenby declared, "I'm not
returning as James Bond."

It was bad enough doing one.

[Hendry] With Lazenby
knocked out,

the question was,
who would play

the international man
of mystery?

They've only had one successful
James Bond.

[Hendry] Until this guy
answered the call.

Roger Moore
finds a new audience,

increases the worldwide
audience for Bond,

gets the audience skews younger.

[Hendry] But just as everything
is coming together on screen,

behind the scenes there were
some bad omens brewing.

There were stunt boat drivers
who were getting injured

at a pretty solid clip.

[Hendry] From stunts gone wrong
to misbehaving leading men...

He puts his hand
on my butt. Pew!

[Hendry] Could Harry and Cubby
right the ship?

Or were they past
the point of no return?

They just had these differences,

and it was getting in the way
of their partnership.

[Hendry] On the eve of the '70s,

no one would argue
that having Sean Connery,

the original Bond,

back in the hot seat
wasn't a great idea.

Except for the man himself.

To hell with that idea.

He was very much afraid
of being typecast.

People only wanted to see him
as James Bond.

[Hendry] Well, believing
every man has his price,

United Artists' head,
David Picker,

invited Connery out
for a friendly chat.

[Pfeiffer] Over playing golf
Picker said to him,

"Let's cut through the crap,"
you know,

"What's it going to take
for you to come back

"as James Bond
just one more time?"

[Hendry] The world
was not enough for Connery,

but all the money in it
might be.

[Pfeiffer] Connery said,
"I want the highest salary

"ever paid to any actor."

$1.25 million.

[Hendry] So in what became

a very expensive
round of golf...

Picker said "Fine."

"We have a deal.

"You'll come back and you'll doDiamonds Are Forever."

[Hendry] The studio got
what they wanted.

The original 007 was back.

And while diamonds
might be forever,

Connery's return would not be.

Sean says it's a deal for one.

One and done.

[Hendry] And although
not a long term solution...

Getting one more film
with Sean Connery

is a lot better than getting

no more films with Sean Connery.

[Hendry] But Connery wouldn't be
the only returning veteran.

Guy Hamilton came back in
to do Diamonds Are Forever.

[Hendry] This is Guy Hamilton,

and he directed
arguably the best Bond film

up to that point, Goldfinger.

His light touch
was thought to be perfect

for a less earnest Bond.

[Jackson] Guy Hamilton thought

the whole point of Bond
was absurdity.

Nothing was too crazy for him.

These are films that
are progressing into an era

where the filmmakers
are very much saying
to the audience

"We're laughing with you."

This is more
of an amusement ride

than a serious thriller.

Welcome to Hell, Blofeld.

[Hendry] But some ideas
were too crazy to last long,

let alone forever.

When they were developingDiamonds Are Forever,

Guy had just returned
from a visit to Disneyland.

He said, "Whoa",
he said, "I had a great idea.

"Bond has to find somebody
or something in Disneyland."

Then he's walking around

and all these Disney characters
are there.

[Hendry] But in
a shocking twist...

[Pfeiffer] They all turn out
to be SPECTRE agents.

There turns out to be
a big gun battle...

...between Bond
and these characters

dressed like Mickey
and Minnie Mouse,
and Donald Duck.

And we all looked at each other
across the table, like...

"You really think
that was a good idea, hey?"

"Oh, yes", he said,
"It's gonna be hilarious!"

According to Guy,

this thing actually
got to the discussion stage

before somebody said,
"Well, forget it.

"And besides,
Disney's never going to allow

"a gun battle with Mickey Mouse
in Disneyland."

[Hendry] Hamilton's idea
was possibly ahead of its time,

but the next Bond film
would try something

completely new
for the franchise.

Well, hi there.

Bond encounters
two female bodyguards

dressed in bikinis,
Bambi and Thumper.

Is there something
we can do for you?

[Hendry] Well, indeed there was.

My name is Trina Parks,
I played Thumper

in the movieDiamonds Are Forever.

Trina Parks was already
a theater actor

and a talented dancer.

[Hendry] But there was
a whole other skill

the producers were in search of
when they asked her...

Do you do karate?

I said "Yeah!
I do karate, yeah."

[Hendry] And so they put
her karate skills to use.

- [Bond grunts]
- All yours, Bambi.

[Hendry] By writing
a special scene

to take advantage
of these knockout skills.

It was initially inspired
by Guy Hamilton.

He'd been watching the Olympics
and thought,

"Wouldn't that be wonderful
if Bond had to tackle

"these deadly
but delicious ladies?"

[Hendry] One of which
would become

not only the first
Black henchwoman, but...

She is the first to choreograph
her scene with Bond.

[Hendry] Trina was given
a license to thrill.

There was a section

where I do a kick split
on the floor.

That section was mine.

You know, in the '70s,

actors did a lot more
than they do now.

[Hendry] Including their own
pool stunts.

We were underneath the water
for, I felt like, 20 minutes.

The CIA and all those people
come running in,

and then he's talking
and we're still under there.

Hello, Felix.

I almost drowned.

When I come up, that's real,
that's not fake.

[Hendry] All in a day's work
for Trina Parks.

Just to see a Black female
in that role

was absolutely wonderful.

[Hendry] Diamonds Are Forever

was released
for Christmas of 1971

and turned out to be a gift
for Eon Productions.

The critics loved it.

They applauded the return
of Sean Connery

who cannot be underestimated

as a hugely impactful
cultural pop hero.

[Hendry] Connery had justified
his historic fee.

And probably
saved the franchise.

[Hendry] But the filmmaking
partnership that created it

was on the rocks.

When it came to film producing,

Cubby and Harry were already
in separate bedrooms.

They're now operating
out of two different offices.

[Hendry] Although
the press and the public

were none the wiser

as the two continued
to produce hit movies.

The divorce
was only on the inside.

They didn't want
to scare the children.

[Hendry] However,
there was plenty

in Harry's risky investments
to scare Cubby.

He made bad investments.

He spent a lot of money,
spent it recklessly.

Harry is investing into
motion picture camera companies,

into Technicolor.

He more or less mortgaged
everything to buy Technicolor.

[Hendry] The Technicolor
investment

was threatening to unspool.

That wasn't doing well.

[Hendry] And unbeknownst
to Cubby...

Harry has put down
as collateral

his share of the company
that has been holding rights

to the James Bond series.

[Hendry] Bond was effectively

underwriting
Harry's dream projects.

He was trying to build
an empire beyond Bond.

Harry broughtBattle of Britain,

which was one of his all-time
dream projects.

[Hendry] But the complex film

came with a price tag
of $14 million.

And it's a good film.

But it didn't do well
financially.

[Hendry] Meanwhile,
his producing partner

kept urging him caution.

"You know, all this money
we're all getting from Bond,"

you know,
"that can vanish pretty quickly

"unless you reel in
your personal behavior."

[Hendry] To keep
covering the losses,

the Bond movies kept coming...

as Eon began production
on the next James Bond movie,

Live and Let Die.

Producers were excited
and had a bit of a coup

wooing Guy Hamilton back

after Goldfinger
and Diamonds Are Forever.

[Hendry] Guy Hamilton relished

the opportunity
to recast James Bond

because, as you might recall,
Sean Connery was...

One and done.

[Hendry] But to make the story
for the next film

work for modern audiences,

they would need more than
just a fresh face.

Live and Let Die is based
on the second James Bond novel

which was published
in 1955 in the US.

While it wasn't
a runaway bestseller,

it caused a slight stir
in the trade.

[Hendry] Fleming's second
Bond adventure

was conceived at a time
of major social upheaval.

[Jackson] The civil rights
discontent

is growing in the United States

with 1955 being a pivotal year.

It's the year
that Emmett Till is lynched.

It is the year
of the Montgomery bus boycott.

[Hendry] When
Rosa Parks' protests

lit the fuse
for resistance to segregation.

And Fleming is trying
to write about that

in a certain type of way.

[Hendry] And the English
author's take on the turmoil

was problematic.

In this novel,

he's really buying into
the conspiracy theory

that communist agents

are behind the discontent
in America.

[Hendry] It was a story
out of sync

with a generation of change.

Twenty years later,
after the novel is written,

America has passed
the Civil Rights Act,

the Voting Rights Act,
the Equal Housing Act...

[Hendry] On the big screen,
those changes were blowing up.

Black America had a new image
and a new voice.

Hollywood was enjoying
the so-called

Blaxploitation film rage.

That's some cold shit.

[Hendry] Studios were suffering
for a audience.

When we came along
with our Super Flys

and Sweet Sweetback's
Baadasssss Songs,

people were flocking
'cause they'd never seen
people like us.

This is a chance
and I want to take it.

You've got these great
Black filmmakers

and Hollywood studios
that are banking on people

being interested
in seeing stories that reflect

both the reality and the fantasy
of Black American experience.

[Hendry] A lot of people
like to call it

the Black exploitation.

And I call it
the Black Renaissance.

I want justice for all of 'em.

[Pfeiffer] Black-themed movies
were big box office.

Very popular,
not only with Black audiences,

but with interracial audiences.

- Yes, baby.
- How you diggin'?

So I think maybe they decided

this is a good time
to tap into that.

[Hendry] If Bond was going
to survive in the new decade,

he was going to have to adapt
to the changing times.

Right on!

[Hendry] But,
would Bond audiences

be hip to boogie on down?

[Hendry] With six films
under his belt,

and searching for a new 007,

Bond was evolving.

The series was going
a little lighter and more fun.

They felt that making them
darker and grimmer

and edgier
was not the way to go.

[Hendry] Bond needed
a different voice,

and seasoned Bond director,
Guy Hamilton,

knew where he could find it.

Guy Hamilton wanted
Tom Mankiewicz

back on board
to write the screenplay.

[Hendry] Tom had all
the necessary qualifications.

I'll be the judge of that.

[Hendry] He had previously
written Diamonds Are Forever,

but it was his
unique perspective
as an American

that would be perfect
for the film.

He was so good
with witty dialogue.

That's quite nice little nothing
you're almost wearing.

I approve.

[Hendry] But Tom
needed more than gags.

Re-imagining Fleming's story
meant dispensing with

Live and Let Die'swonky politics.

The movie certainly
tries to update

the racial politics
dramatically.

[Hendry] Step one was to cut
the outdated communist subplot.

And secondly, he was careful

not to repeat
embarrassing tropes

like the kind John Kitzmiller
had to endure in Dr. No.

At one point in the film,
Bond rather infamously

turns to Quarrel and says...

[Jackson] This has
kind of become known

as one of the most uncool
moments in Bond history.

[Hendry] Tom made sure
to update Bond's characters

to modern sensibilities.

Tom Mankiewicz was very careful
to pay a lot of attention

to the portrayal
of the Black villains

and give them sophistication,
give them a motivation,

give them an individuality.

That's precisely
what I intend to do.

[Hendry] And while the script
was being bent into shape,

the question
of who would play Bond

became a wedge between
the feuding Cubby and Harry.

[Pfeiffer] Obviously,
they both had to agree

on who was going to play
the character of Bond.

They just had these differences

and it was getting increasingly
in the way of their partnership.

[Hendry] A partnership
they shared

with United Artists
since Dr. No.

The producers
would get 50%,

and the studio would get 50%.

[Hendry] But after
the Lazenby debacle...

It was bad enough doing one.

[Hendry] ...the choice
of the next Bond

would likely determine
the fate of the franchise.

And they're facing
a real dilemma here.

The Bond films have basically
been around for a decade now.

They've only had one successful
James Bond, Sean Connery.

[Hendry] So, the prevailing
thought was...

Whoever took over
from Sean Connery

was doomed to fail.

[Hendry] But the producers
were willing to bet

that the future
hadn't been foretold.

Yet.

So, they went about meeting
with the cream of the crop

of the British acting
aristocracy.

[Chowdhury] Michael Gambon,
Jeremy Brett, Julian Glover

all say they were tested.

Burt Reynolds was
who Guy Hamilton said he wanted.

[Hendry] But the man
they settled on

was an actor
who had already played Bond,

for laughs at least.

Oh, oh!

Yes, and I'm oh-oh-seven,
as if you didn't know.

[Hendry] The young
British actor, Roger Moore.

Roger had been
first considered for Bond

back when they first did Dr. No
and was thought

of being too much
of a pretty boy.

But he'd become
most famous

by doing The Saint
on television.

My name is Templar,
Simon Templar.

[Hendry] A show that essentially
borrowed a little too liberally

from James Bond.

Debonair leading man,

always beautiful women
in every episode.

[Hendry] But producers decided

to bet it all
on that pretty boy.

He signed
for a three-picture deal.

[Hendry] With any subsequent
films to be negotiated

on a picture-by-picture basis.

And he was off to the races.

But it was a big gamble.

[Hendry] Live and Let Die,set mainly in the US,

enabled United Artists to keep
a close watch

right from the outset.

David Picker got very involved
in the casting.

[Hendry] Including
personally anointing

the first Black Bond villain.

He's the one who said,

"Hey, we're working on this film
called Across 110th Street.

"We've got this actor,
Yaphet Kotto."

He could be our man.

Everyone on set was raving
about his performance.

Now, I want you
to stop patronizing me.

They came across the street
while they were shooting

one night,
and David Picker said,

"Hey, what do you think
about playing a Bond villain?"

Yes!

And he's very proud
to take this role

and to be the first
Black major villain

actually in any
non-Blaxploitation picture.

[Hendry] In the role
of Mr. Big's henchman,

Baron Samedi,

was a man who had already
embodied the spirit.

I mean, Geoffrey Holder
had played Baron Samedi before

in a play that had been written
by Truman Capote.

[Hendry] Geoffrey Holder
was not just an actor,

but a choreographer.

He choreographed
his entire thing.

And matter of fact,
he made his character.

He dressed it and everything,
and he's an incredible artist.

The new James Bond was looking
more inclusive than ever

and Tom Mankiewicz was prepared
to push it even further.

Now, the character, Solitaire,
in the novel Live and Let Die,

is a white character.

[Hendry] But in his script,

Tom Mankiewicz imagined
a Black love interest for Bond.

One of the thoughts
is Diana Ross,

and wouldn't
that be interesting

and bring a lot of attention
to the film?

It would have been
dynamite casting.

[Hendry] United Artists
was worried that dynamite

would start the wrong
kind of fire

with mainstream audiences.

They felt
that having Black villains

and a Black leading lady

against a white actor playing
James Bond might be too much.

[Hendry] And so,
Diana Ross as a Bond Girl

never came to be.

Keeping the character white
as she was in the novel.

[Hendry] Jane Seymour,
legend has it,

hardly needed to throw
her hat in the ring.

She merely had to remove it.

She came
into Harry Saltzman's office.

She had her hair all up
and she had some hat on.

She pulled the hat off
and the hair flowed down.

She had
this beautiful long hair.

Harry just looked at that
and he was like, "You're it."

[Hendry] And having caved
to a white Solitaire...

Tom Mankiewicz
decided to include

another Black woman instead.

[Hendry] So, Eon would turn
to a young actress

whose own story

sounded like scenes
from a Fleming novel.

I worked for the NAACP
as a litigator

during the time
of de facto segregation.

But when Martin Luther King
was assassinated, I had had it.

I just had had it.

And I said,
"I want beauty in my life."

I'm tired of this.

I started searching.

And I wound up
at The Playboy Club.

And I was off and running.

My whole life changed
into the entertainment business.

And I got in
at just the right time

for what was becoming
the Black Renaissance.

I had just wrapped the film upBlack Caesar,

and that was
my first co-starring role,

when my manager called me

with a bit of,
well, tricky news.

And he said they wanted
to see me for a James Bond film.

I said, "You're kidding me.

"I'm not tall.

"I'm not blonde.

"And I'm not blue-eyed,
and I'm not...

"you know, endowed."

And he said,
"They want to see you, Gloria."

After my meeting with
Roger Moore and the director...

My manager called me and said,
"You got it."

It was like, "What? I got it?"

I never read one line.

[Hendry] Live and Let Diewas a new direction for Bond

and Guy Hamilton wanted
his new 007 to turn some heads.

Guy Hamilton, he worked
closely with Roger Moore

to craft a new James Bond.

[Hendry] For starters...

[Chowdhury] He smoked
Montecristo cigars.

And did not drink
vodka martinis

shaken not stirred.

[Hendry] He drank...

Bourbon, no ice please.

They wanted to avoid
all the Connery tropes.

[Hendry] After all,
Roger was no Sean.

What Tom Mankiewicz always said
was that Sean Connery looked

like he could make love
to the girl and kill the girl.

Roger Moore looked like
he could make love to the girl,

but he didn't look like
he could kill the girl.

[Hendry] So, producers would
need some voodoo magic

to get audiences to believe

that their pretty boy
was actually a tough guy.

[Hendry] As Live and Let Die

kicked off production
in October of '72,

the producers had a plan ready

to make their pretty boy
look tough.

Action!

And lots of it!

They started filming with

the boat chase in Louisiana.

[Hendry] Which in the script
had been described as...

What follows
is the most incredible

boat chase
ever committed to film.

[Hendry] That's
what they set out to film.

Because, after all...

Well, even if Roger Moore's
not that great,

we can have, you know,
these boats jumping over cars.

[Hendry] And with a budget
seven times

the original Bond film...

Very elaborate, very expensive.

[Hendry] ...it was all gas
and no brakes.

I am not sure
that any film out there

has ever done

what Live and Let Die
did with stunts.

[Hendry] Because
in true Louisiana fashion...

[Jackson] They were running
these boats down the bayou

at an incredible rate of speed.

[Hendry] And their speed
was only matched

by the complete
disregard for safety.

Boats do not
have airbags.

Boats do not have seatbelts.

[Hendry] But that's only
really a problem if...

Boats were
running into things.

[Hendry] And the problems
would begin

on the very first day
of filming.

They've got the camera mounted
on the front of the boat

and those close-ups
of Roger Moore

with the wind whipping
through his hair,

that's him driving the boat.

Very early on,
Roger banged himself.

Roger Moore broke a tooth.

He was worried
he might've lost some teeth.

He did not lose some teeth.

[Hendry] But it wasn't just
Roger Moore on the front lines.

There were stunt boat drivers
who were getting injured

at a pretty solid clip.

[Hendry] Crashing boats may have
been the least of the worries

for these accident-prone
stuntmen.

In the picture,
James Bond is led by Tee Hee,

a one-armed villain
with a claw for an arm,

to the crocodile farm

and is placed on a suspiciously
small island.

[Hendry] A scene
not in the original script.

The tiny island was
on Fleming's favorite island,

Jamaica, on this alligator
and crocodile farm.

Whilst they were in Jamaica
scouting for locations,

the crew came across
a sign saying,

"Trespassers will be eaten."

And they're like,

"Okay, this is the kind of place
we want to put James Bond."

[Hendry] But before Mankiewicz

could sink his teeth
into this script change,

the crew would need
to meet the curator

of these lethal reptiles.

They ventured into the premises
of one Ross Kananga,

a crocodile
and alligator farmer.

[Hendry] Which is apparently
a real job.

[Kananga] They do move fast,
so that's why you've got to be

a little bit careful round here.

Ross Kananga's crocodile farm
was a tourist attraction.

[Hendry] Kananga's name
was given

to the film's villain,
Dr. Kananga.

[Chowdhury] And it just
goes to show that

Bond films do take inspiration
from their surroundings.

[Hendry] These huge reptiles
would form the backbone

of a stunt that perfectly
combined the humor of Bond

with his trademark action.

[Chowdhury] James Bond notices
the alligators are piling up

against each other,

forming what might be
an escape route

and jumps across the backs
of the crocodiles to safety.

[Hendry] And since no stuntman

was crazy enough
to get into the water

with these dangerous
creatures...

Kananga doubles for Roger Moore.

So, if something bad happened,

we were just gonna be able
to have to watch it.

[Hendry] And he would know,

as one of the guys
doing the watching.

They were live
and ready to snap.

Alligator backs
are slippery,

and Ross is having to run

in the shoes
that Roger Moore was wearing.

[Hendry] Which were ironically...

...alligator leather shoes.

He continues to slip
over and over.

At one point, one of the
alligators manages to catch

the bottom of his shoe...

with its teeth.

And then the camera assistant

did one of those
whoo, you know, pushed me,

and I had nightmares

for literally weeks after that

thinking the crocodile
was gonna get me.

[Hendry] Kananga eventually
pulled off the stunt

without an alligator
pulling off his foot.

Bond had got the last laugh.

Sadly the same couldn't be said
for everyone involved.

Ross Kananga
was eventually eaten

by his own crocodiles,
as was his father.

[Hendry] Well,
that's only half true.

Ross Kananga actually died
of a heart attack in 1978.

As for his father...

definitely crocs.

But for this Brit,

working with alligators
wasn't the only thing

he had to get used to
in Jamaica.

The way
that we did it in England,

there was
a little bit of shouting

to get people to move.

[Hendry] But the locals found
his drill sergeant routine

out of sync with the island's
relaxing vibes.

[Hippisley-Coxe] We were
shooting the party scene.

I apparently
was a little too abrasive

for some of the locals,

and I was taken to a hut

where some rather large
gentlemen with a gun were,

and the gun was waved,

and I got the point,
so... I was quite shaken.

[Hendry] But he wasn't stirred.
In fact...

- Bourbon and water, please.
- [Hendry] ...nobody was.

But soon it would be drinks
all around.

I asked my to-be wife
to come out.

I thought,
"Oh, well, let's get married."

[Hendry] And there were even
some special guests

crashing the wedding party.

[Hippisley-Coxe] Roger was the best man,

and Jane Seymour
was the matron of honor.

[Hendry] Everyone
was learning to relax

on the set of Live and Let Die.

Even if everything
wasn't quite copacetic.

Unfortunately, during that time,

we didn't have many people
of my hue do stunts.

So, it was a Caucasian,
in Blackface,

with my white dress on.

A problematic practice
from those days

that was all too common.

Equally controversial
was my co-star in this scene.

Never mind, darling.

You just let us know
when we get to the spot

where Baines was killed.

He puts his hand on my butt.

Pew! I wanted to slap his hand
so bad.

Some of the stuff
we had to put up with.

For me, it was an uphill battle
to make my character

more than just another notch
on Bond's belt.

I thought she was a silly,
out of touch young lady.

I guess I have
a little explaining to do.

I looked at the role and I went,
"What can I do with this?"

Better start by getting
your head together.

From the outset of their
relationship,

they're not on even footing.

You're only my second mission,
you know.

He's presented as being
the super spy,

and she's presented as being
the novice

and being superstitious.

Oh, a snake, I forgot,
I should have told you.

You should never go in there
without a mongoose.

And I was like,
"How can I do this?"

I have to show my strength
somewhere.

[Rosie] Stop right there.

[Hendry] But I made it work.

And the producers took note.

They didn't wanna kill me.

And they said,
"We like you too much.

"We're trying to figure out
how to keep you."

And that was really, gosh,
that was very precious.

So they had me stand by

and wait to see
if they could change the script.

[Hendry] As filming on
Live and Let Die

was coming to an end,

the producers were looking
for a way

to expand my role.

But the way
the script was written,

they couldn't change it.

In the end,
my role met the fate

of many dispensable
female characters

left in Bond's wake.

She's a character
with a lot of potential

who could've been a great figure

who could've died
maybe on her own terms,

rather than being
the butt of the film's joke.

We've come a long way.

We've still got
a long way to go.

But, um, the Bond filmLive and Let Die

helped to make that gap.

When Live and Let Diepremiered in June of 1973,

audiences had never seen
anything quite like it.

Roger Moore comes in,
and he nails this.

[Hendry] Roger Moore's
debut as Bond

would mark
the dawn of a new dynasty

in the franchise.

He made it his own.

He was suave,
he was sophisticated,

[Hendry] But thanks
to Tom's witty script,

not too sophisticated.

There's no sense
in going out half-cocked.

Tom Mankiewicz knew how to write

for Roger Moore's
style of humor.

[Hendry] And Roger knew
how to sell Tom's lines.

Oh, I'm sure we'll be able
to lick you into shape.

I tell you, that script was just
filled with all kinds of jokes.

The jokes that helped answer
a deadly serious question.

Could they get somebody else
to succeed as James Bond?

Roger Moore proved you could.

[Hendry] He also proved
the Bond truism

that Cubby had told Connery
years earlier.

We think James Bond
is the star of these movies.

We don't think Sean Connery
is the star.

[Hendry] Bond was the star,

and Moore
wasn't just a good Bond,

he was good for business.

Roger Moore
finds a new audience,

increases the worldwide audience
for Bond,

gets the audience skews younger.

[Hendry] Live and Let Die'sbroader audience

gave Bond a box office bump.

The film
gets solid reviews.

It keeps playing in theaters.

And it out-grossesDiamonds Are Forever.

[Hendry] The worldwide takings
would eclipse $161 million.

It was fun, it was innovative,

it didn't take itself
too seriously,

and just had that nice blend
of humor and action.

Just being disarming, darling.

[Hendry] But if Cubby thought

Roger Moore
was his golden ticket,

a certain man with a golden gun
was soon to cast doubt on that.

The Man with the Golden Gun
did not do nearly as well.

Not a big fan favorite.

And there was a substantial dip
in the box office revenues

worldwide for that.

[Hendry] The not-so-golden gun
managed to only take in

just over $97.5 million
worldwide.

But Cubby's
biggest money worries

had nothing to do
with the Bond's box office.

Harry Saltzman needed money.

His other non-Bond ventures
were hemorrhaging money.

[Hendry] Like any
good Bond villain,

Harry had a Swiss account,

but his was $20 million
in overdraft.

Well, it comes to light

that Harry had put up his share
in the Bond franchise

as collateral
for some of the money

that he was gonna borrow.

He gets to a point
where he has to sell out.

[Hendry] His creditors at UBS

were suddenly
eyeing up the chance

to get into the movies.

That are coming in and saying,

"Oh, well,
this is our collateral.

"We get a hunk of Bond."

[Hendry] Unlike Bond,

Cubby was not inclined
to jump into bed

with complete strangers.

Cubby Broccoli does not want
Harry's share of Bond

sliced up among the creditors
that Harry owes money to.

[Hendry] So, he aimed to strike
one more deal with Harry.

A duel between titans.

And what Cubby wants
is for Harry to sell to him.

Cubby wants to own
all the franchise.

"Harry, you messed up,
not my problem, sell it to me."

[Hendry] Except
there's one hitch in that plan.

[Jackson] Harry doesn't
want to sell to Cubby.

Harry wants
more money than that.

[Hendry] But Cubby had
one ace to play.

His deal with Saltzman gave him

a veto over any new partner
Harry might sell to.

And so Cubby
just keeps saying no

to potential buyer
after potential buyer.

[Hendry] But Harry had an ace
up his sleeve, too.

So, then Harry does
pull the masterstroke.

He goes to United Artists
and he says,

"Would you like to buy
my share of Bond?"

[Hendry] Which made them

the perfect sales partner
because...

Cubby cannot say no
to United Artists.

United Artists is somebody
he's already in bed with.

So Harry sells
to United Artists.

[Hendry] Forced into
an arranged marriage

with United Artists...

That caused
a great deal of hard feelings,

as you might imagine,
between the two of them.

[Hendry] ...Cubby sought
a final divorce

from his old business partner.

You need a good lawyer.

[Hendry] But not just
any lawyer.

When the situation came up,
Cubby's like,

"Who you gonna trust?
You're gonna trust your family."

[Hendry] So,
he went to his stepson.

[Chowdhury] This man is called
Michael Greg Wilson.

He's the son of Dana Wilson,
Cubby's third wife,

and Lewis Wilson,
an actor in Hollywood

who played the first
screen Batman.

[Hendry] But Michael didn't want

a career in tights
like his dad.

Michael Wilson seeks a path
outside the family business,

goes to Stanford University,

and becomes a highly successful
tax lawyer.

And he's a little bit like

Michael Corleone
in The Godfather.

Just when I thought I was out,
they pull me back in.

And Michael is able
to sit down and parse through

the language of these contracts

and these agreements
and able to help guide

Eon Productions
through this situation.

[Chowdhury] Leaving
Cubby Broccoli

a free man from Saltzman.

[Hendry] For now,
Cubby was on his own

and he would need
to surround himself

with people he could trust.

And like with Michael Wilson,

Cubby would opt
to keep it in the family.

This is Barbara Broccoli.

[Chowdhury] A young lady
enters the field.

Her name is Barbara Broccoli,
Cubby and Dana's only daughter.

[Jackson] Barbara Broccoli
starts doing crew work

in different departments.

Cubby is making sure

that she understands filmmaking
from the ground up.

So that once she becomes
a producer,

she understands
how films are made

because she came up
through the ranks.

[Hendry] The father-daughter
team of Cubby and Barbara

would have their work
cut out for them.

But they wouldn't be alone
on this next mission.

Cubby retains creative control
over the pictures,

but financially, now the films
have to always be produced

with United Artists.

[Hendry] Which actually
wasn't a bad thing.

[Chowdhury] United Artists,
in the '70s,

was the most powerful
film studio of its time.

Not only was it hugely
creatively successful,

it was also hugely
commercially successful.

[Hendry] And as Cubby's new
business partners,

they were willing to put
more skin in the game.

The Spy Who Loved Me,
the next Bond film produced,

was given a huge influx
of investment.

[Hendry] His budgets
were bigger than ever,

but so were his headaches.

The Bond films
were getting bigger and bigger

and more demanding
and more expensive.

[Hendry] And United Artists
was eager to see

if Cubby could
handle the pressure.

So he pulled out all the stops.

[Hendry] For the first Bond film
he would produce alone,

Cubby Broccoli decided
to give 007 an all-new mission.

Cubby decides that they need
to make a statement.

He needs to make a statement.

[Hendry] But for
The Spy Who Loved Me,

Bond would be venturing
into uncharted territory.

They had agreed
that they could not

use anything from the novel.

[Hendry] And there's a perfectly
good reason why not.

So, Ian Fleming,

when he wrote
The Spy Who Loved Me,

wrote it from the perspective

of a female character,
Vivienne Michel,

who encounters James Bond,

and then encounters two thugs

who are coming there
to burn the motel down,

potentially after raping her

and leaving her to die
in the motel.

[Hendry] And unsurprisingly...

It did not
get great reviews.

[Hendry] And the reviews
get worse.

The most infamous thing

about the novel is
when the female narrator says,

"All women love semi-rape."

Fleming got so much flak

that he asked his publisher
in the UK

not to print any more editions.

[Hendry] The Spy Who Loved Mestory

would never be adapted
for the big screen.

And so, when they had the deal
for the film rights,

he said "Yes, but you have
to make up your own story

"if you use the title."

[Hendry] For the first time,

Bond could choose
his own adventure.

And Lewis Gilbert basically
comes in and says,

"Why don't we do a film a lot
like You Only Live Twice?"

[Hendry] A film which begins

with an American spacecraft
going missing.

We shall see a new power
dominating the world.

[Hendry] 007 teams up
with a sexy secret agent

who then tracks it down

to an evil madman's
underground bunker.

They decided, "Let's go with the
title The Spy Who Loved Me,

"but really get back
into this world of fantasy."

[Hendry] So,
they dove in feet first.

And, so, they really
mapped out a story

that's You Only Live Twice
underwater.

[Hendry] This time,
when a Soviet submarine
goes missing...

Oh, my God.

[Hendry] ...to prevent
a world war...

I intend to change
the face of history.

[Hendry] ...007 teams up
with a sexy secret agent...

We've really gotta
stop meeting like this.

[Hendry] ...to track the evil
madman to his underwater lair.

You've made your point.

It's a wonderful canvas
for Bond to play on.

[Hendry] The next step was
to fill that beautiful canvas

with beautiful women.

Cubby had been traveling up
and down on the railways...

[Hendry] ...when an ad
featuring Caroline Munro

made an impression on him.

So he asked me in, and I did
an interview with him.

[Hendry] And while getting
the part was easy...

I felt in very safe hands
really, but very excited.

[Hendry] ...saying the lines
had its challenges.

The first scene,
I was in terrible pain,

I thought, "I don't know
what's going on here."

My bottom was on fire.

[Hendry] And as
the boat pulled in,

she found the culprit.

I'd sat on a bee.

[Hendry] But with
no time to stop,

she had to deliver her lines.

- Mr. Stirling.
- Yes.

I'm Naomi.

Roger said,
"Can I kiss it better?"

I said, "No!
Absolutely not, I'm fine."

[Hendry] It was a cheeky
first impression.

But nothing compared
to the film's opening.

Before you run titles,

you've got to have an
extraordinary action sequence.

[Hendry] A tradition
in Bond films,

an over-the-top cold open
that sets the stage

for the adventures that follow.

I think it reached its pinnacle
with The Spy Who Loved Me...

[Hendry] ...whose thrilling
opening alpine ski chase

would set a new standard
of excellence for stunts.

They'd had teasers earlier,
but not on this scale.

[Hendry] And the idea of this
heart-thumping thrill ride

would come from
the most unlikely of places.

Cubby Broccoli
brings his stepson in,

Michael G. Wilson,
to start working with him.

[Hendry] Having
helped free Cubby

from Harry Saltzman
as a lawyer...

Michael Wilson then becomes

the special assistant
to the producer

for The Spy Who Loved Me.

[Hendry] ...Michael was now
bringing his ideas

to the family business.

He said, "Why don't we try
to start with something

"that's really gonna be big?"

Michael Wilson sees an advert
in a magazine.

[Hendry] And like Cubby had
found Caroline in a magazine,

now his stepson, Michael,
had chanced upon

this potentially thrilling
moment.

Upon inquiring about the advert,
he finds the jump was faked

by skier and mountaineer,
Rick Sylvester.

[Hendry] But undeterred...

They contacted that skier,
Risk Sylvester.

When asked
could he do it for real,

Rick says, "Yes."

"And I know where to do it."

[Hendry] Right here.

The flat top mountain Asgard.

[Hendry] Located in a remote
northeast corner of Canada.

The cliff face
went up for 7,500 feet.

That's absolutely straight up.

But it was
in such a remote area,

logistically,
it became very difficult.

They are at high altitude,
the weather's not good,

they've only got so many days.

Cubby Broccoli insists
they do the shot early on

in the production
so that if it fails,

it doesn't work,
they can come up

with another pre-title sequence.

And eventually,
on the last day,

the clouds parted,
the sun was shining.

And Rick Sylvester
skied off of that cliff.

Every camera that is panning
to follow him,

loses him.

[Hendry] Except this one.

One camera had the entire stunt.

[Hendry] And that's
all they needed.

[Munro] It was unbelievable,
that stunt.

We all stood up
and we applauded.

That was considered
one of the greatest stunts

in the history of cinema.

And arguably birthed
every Tom Cruise

Mission: Impossibleaction sequence you see.

Every Bourne sequence,
every Fast & Furious sequence,

owes their roots
to this incredible stunt.

[Hendry] It was so good,

Cubby put John Glen

and his cinematographer,
Alan Hume,

in charge of all
future Bond films.

I think the sequence cost
about $250,000,

just to do that one shot.

[Hendry] And it was worth
every penny

as the film brought in
over $185 million

in global box office takings.

The Spy Who Loved Me
is staggeringly successful.

It's a huge solace
for Cubby Broccoli.

He gained his notoriety
as a first class producer.

[Hendry] Not only
did it prove he could

make the Bond films
on his own,

his team had created
a new template for Bond.

The Spy Who Loved Me
was the movie

that really cemented Roger Moore
as the Bond of the '70s.

Hope you enjoyed the show.

[Rubin] The extraordinary
locations

and international sets

and all of that magnified

was very, very much
the way to go.

[Hendry] Now the template
just needed to be used again.

The next film was lined up.

The Spy Who Loved Me ends
as the Bond films tend to do

with a credit
that comes up and says,

"James Bond will return

in For Your Eyes Only."

[Hendry] But,
an industry-changing
blockbuster

was about
to alter Cubby's plans.

There's a great disturbance
in the Force.

Star Wars was simply too big
of a hit to ignore.

[Hendry] Just when
The Spy Who Loved Me

appeared to have perfected
the Bond formula,

a film came out
that changed everything.

Star Wars was too big
of a hit to ignore.

[Hendry] Producers wondered
if there was any way

to make the two worlds collide.

Luckily, they had
a secret weapon
up their sleeve.

- Moonraker.
- What do you know
about Moonraker?

[Hendry] Moonrakerwas Fleming's third novel,

and while technically
not set in space,

it had all
the right ingredients

for an out-of-this-world story.

After some pretty big rewrites,

they settled on a plot
where a spaceship is stolen...

The truth is rather
more disturbing, 007.

[Hendry] ...by an evil madman.

The human race
will cease to exist.

[Hendry] And so,
to save the world,

007 teams up
with a secret agent

to track the madman down

to his reclusive
orbiting space station.

James Bond in space.

[Hendry] So, to ride the wave
created by Star Wars,

Cubby had a budget
that's big enough for space.

As big asThe Spy Who Loved Me was,

Moonraker was bigger.

An unheard of $34 million.

[Hendry] So, to keep up
with the Millennium Falcon,

Bond would also be afforded
his own stormtroopers,

his own lasers, and his own
space age vehicles,

the least of which was this...

Inflatable gondola.

Everybody seeing him in that,

he's hardly being
the secret agent.

But people liked that,

so they were much more playful

and Roger Moore
was the ultimate playful actor.

These are crazy, surreal,
over-the-top ideas

and villains for the most part.

[Hendry] But, when Moonrakerpremiered in June of 1979,

reviews were mixed.

For some people,
that was a step too far.

[Hendry] While the same audience

could buy into
light-up laser swords,

Moonraker's shootout
didn't quite land.

It was a little too outrageous.

Some Bond fans, they were like,

"All right, I can't deal
with this anymore."

At least I shall have
the pleasure

of putting you out of my misery.

[Hendry] But Bond
wasn't over yet.

-
-

If you were nine,
ten, eleven years old

in the summer of 1979,
you were lining up.

It was a fantastic ride.

[Hendry] And a little bit
of an education, too.

My God, what's Bond doing?

I think he's attempting
re-entry, sir.

It's so ridiculous.

I always roar with laughter
when I see that stuff.

[Hendry] And so did a lot
of people around the world.

Moonraker becomes a ginormous
worldwide hit.

[Hendry] Turning
his $34 million budget

into more than $210 million
at the box office.

Moonraker
is even more successful

than The Spy Who Loved Me.

Both those films
are magnificently successful.

[Hendry] Producing Bond
on his own terms,

Cubby had taken his franchise
into the stratosphere.

In the late '70s,
with Cubby Broccoli solo,

it seems there would be
no cloud on the horizon.

[Hendry] But come the '80s,

not only were there
clouds gathering,

but a storm
was definitely brewing.

A legal storm.

Then there were
all these lawsuits

trying to prevent Kevin McClory

from making another
James Bond film

based on the Thunderball rights

that he had ended up
with as a settlement.

[Hendry] That's right.

McClory was back.

And someone else was back, too.

And Sean Connery then signs on
to do Never Say Never Again.

And Connery plays Bond
in retirement

as a 52-year-old man.

A new, non-Eon James Bond film
with Kevin McClory.

[Hendry] Because when it comes
to the Bond franchise,

you should
never say never again.

The production
of Never Say Never Again

was a mess.