All language subtitles for Icons.Unearthed.S05E04.Over.a.Cliff.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

[Gloria Hendry] On the cusp of the 1980s,

Moonraker followed
Star Wars into space

with stratospheric success...

Thank you for the ride.

Moonraker becomes
a ginormous world-wide hit,

grossing over $200 million.

Trifle overpowering.

[Hendry] ...helping make
United Artists

the most powerful studio
of the 1970s.

The idea that the studio
would somehow falter

was inconceivable.

You don't believe me, do you?

[Hendry] But the 1980s
would be blown in

on the winds of change...

United Artists had hit a wall.

[Hendry] ...and the competition

was getting fiercer
and fiercer.

He said, "I think this series
has run its course, don't you?"

And everyone panicked.

[Hendry] But if Bond
was to die another day,

Cubby Broccoli would need
an ace up his sleeve.

Would you go see
a film entitled Octopussy?

Have you gone mad?

[Hendry] Well,
perhaps something

a little bit more substantial
than that.

It was time to shake things up.

It was time for a new Bond.

[Hendry] With the hunt
for their new spy underway...

We were getting close
to when we had to start.

We were getting
pretty desperate.

[Hendry] There would need
to be a new Bond for a new era.

James Bond goes rogue.

[Hendry] And with the tightening
grip of the studio...

We were getting
a lot of pressure

to cut down
on the cost of our films.

That could have been disastrous.

[Hendry] ...everything
was on the line.

We had four minutes
to make him the new Bond.

Bond, Bond, Bond...

[Hendry] In 1979,

producer Cubby Broccoli
was over the moon

with the success of Moonraker.

However, for those
in Bond's orbit,

it was impossible to ignore
United Artists' free-fall.

The original leadership team

that had led United Artists

in the '60s and '70s,

they all leave
in the late 1970s.

The studio,

owned by big insurance monolith,

Transamerica Corporation...

You know,
they wanted more control.

[Hendry] Senior vice president,
Mike Medavoy,

had seen enough.

[Medavoy] I decided,
"Hey, I'm not gonna stay."

It was a terrible time.

You know, it's the old thing
about people

who don't know anything
about the business.

They're just numbers people.

[Hendry] Also referred to as...

Bean counters.

[Hendry] And with
the bean counters in charge,

no one was safe
from their penny-pinching.

The future of the Bond films
was kept on edge.

It was no longer
a bottomless pit of money.

[Hendry] Meanwhile,
the instability

at United Artists
helped push Cubby Broccoli

into a creative decision
that he had been contemplating

since the release of Moonraker.

Cubby wanted to, as he said,

"pull in the balloon
a little bit."

[Hendry] After all,

there's not much further
Bond can go than space.

He said, "We need to
literally bring Bond

"down to Earth
after being in outer space."

[Rubin] That's when
they came up with the story

of For Your Eyes Only.

[Hendry] A far more
grounded tale

of missile commanded systems
and murdered marine biologists.

An official operation
is out of the question.

[Hendry] Bond teams up

with the victim's
vengeful daughter...

Always avenge their loved ones.

[Hendry] ...to defeat
the villain...

I never go back on a deal.

[Hendry] ...and save the day.

Which kind of harkens back

to a From Russia With Love
type story.

A little bit more
cloak-and-daggery.

Feels like
the restart of Bond

as a more grounded character.

[Hendry] But after the success
of Moonraker,

would audiences take
to this fresh start?

- Why not?
- [Hendry] It was a big risk.

And to make it even riskier...

Incredibly, they decided

that if they were gonna
make a fresh start,

they might as well start
with a fresh director.

[Hendry] Well, fresh-ish.

Enter John Glen.

I had worked
on James Bond films,

three as editor
and second unit director.

John, of course, had filmed
that great opening sequence

in The Spy Who Loved Me

with Bond parachuting
off the top of the mountain.

[Hendry] It was a little bit
more than that.

[Rubin] That was considered

one of the greatest stunts
in the history of cinema.

[Hendry] And so,
if anyone deserved the gig,

it was John Glen.

It was just really
a natural progression,

and Cubby had the faith in him
to take over a whole film.

[Glen] I think Cubby
was quite shrewd

because I was young,
and he was hoping, probably,

that I would give
the film a lift, you know,

and make it current
to the younger people.

[Hendry] And the first challenge
for this new director was...

recasting Bond.

No pressure.

Every time, every film,
he was on a film-by-film basis,

so every film
it was all a bit of a toss up

whether he'd come back or not.

If I can stay awake
when I'm reading a script,

you know, it amuses me,

and everything is there,
all the elements are right,

- yes, I'd do them.
- Yeah.

[Hendry] And one of those
elements, of course,

was money.

Roger Moore
had earned $4 million

for his portrayal
of Bond in Moonraker,

but the bean counters
at United Artists

weren't going to pay
that sort of money.

Until, that is, they did
a little risk analysis.

There's nothing so risky
as recasting a James Bond.

[Hendry] Having learned that
from this guy...

I wouldn't sign their contract.

[Hendry] So, what commenced

was a Bond-like game
of cat and mouse

to convince Moore
to sign on the cheap.

The famous story goes

that Roger and Cubby would play
backgammon for Roger's salary.

That game went on all the time.

They would dangle other actors
who will replace you.

[Chowdhury] Names like
Oliver Tobias,

Michael Billington.

[Hendry] However,
in the end, Roger Moore,

like his character,
called Broccoli's bluff...

Your lucky night.

[Hendry] ...and Broccoli agreed

to pay Roger $4.6 million
to come back.

- Thank you.
- Thank you very much, sir.

He held it against me slightly
that I'd been testing

other possible Bonds,
but he forgave me very quickly.

Didn't hold a grudge,
Roger.

[Moore] Oh, I'm very grateful.

I'm always amazed
when I get another job offer.

[Hendry] And joining Roger
and John Glen on set,

would be another veteran...
oh, of sorts,

Cubby's daughter,
Barbara Broccoli.

She gets in there,
and she is busting her tail,

and she's working with
as many departments as she can.

[Hendry] Having worked
in publicity

for The Spy Who Loved Me,

and as second AD on Moonraker,

she was bouncing
around every department on set.

And so, she knows
how films are made

as she's coming up
through the ranks.

It really was
great training for her.

[Hendry] Standing next
to John Glen everyday,

she got to watch
a master at work.

He was at a friend's home

and saw a child using
a remote control helicopter,

and said,
"Let's put that in the film."

You are now
flying Remote Control Airways.

[Chowdhury] He gets
Remy Julienne,

a French car expert,

to do amazing stunts,

notably with
the Citroen Deux Chevaux.

I'm afraid we're being
out horse-powered.

But we put in a big,
a very big engine

in the 2CV.
It was more powerful.

[Hendry] But John's
greatest stunts

would be driven
by pigeon power.

Bond's climbing this precipice,

and he puts his hand
into a handhold,

and then, of course,
a pigeon flies out.

-
-

[Glen] Makes the audience
miss a heartbeat, you know.

It became a trademark of mine.

[Hendry] And a favorite
among the bean counters.

They're cheap,
and they're freely available

anywhere in the world.

[Hendry] But exhausting
the pigeon budget

wouldn't be enough to stave off
United Artists' money troubles

because they had one movie...

Heaven's Gate.

[Hendry] ...that was becoming
a very big problem.

That was it. That was the one.

[Hendry] Making merely
$3.5 million at the box office,

for United Artists,

Heaven's Gatewas more a nail in the coffin.

The movie loses
the biggest amount of money

ever lost in any movie
up until that time,

forcing
Transamerica Corporation,

the parent company,

to sell its ownership
in United Artists.

[Hendry] United Artists
was sinking, and fast.

They sell it to the billionaire
property magnate,

Kurt Kerkorian.

[Medavoy] Kirk was
a real gentlemen,

nice, nice person,

but he was a total business guy.

You know, he should never have
been running a movie company,

although he wanted to.

[Hendry] But this
wasn't Kerkorian's

first movie studio venture.

In fact, Kerkorian
also owned MGM.

[Chowdhury] And merges
United Artists, effectively,

with his ownership
of the studio MGM.

[Hendry] Meaning, basically,

that James Bond
had a new studio,

and Cubby Broccoli
had a new partner.

MGM know that the Bond films
are reliable,

even Bond films that do
less well are still profitable.

[Hendry] For Your Eyes Onlyis released in 1981

and becomes a massive success
with a box office return

second only to Moonraker.

The public loved it,
and I was very happy.

[Hendry] Immediately,

the team turned
to the next film.

Roger Moore, again, was looking
for a boost to his salary.

How much money
does MGM wanna spend

on Roger Moore to come back?

[Hendry] Now in his 50s,
there was another issue.

We're gonna start having
"old man" Bond.

[Hendry] An issue
that couldn't be ignored

even in the movies themselves.

You get your clothes on.

I'll buy you an ice cream.

Even though
Bibi Dahl expresses interest

in James Bond, he says,
no, like, you're too young,

this isn't appropriate.

[Hendry] It was beginning
to look like Bond

would be Roger no more.

However, there was
another age-old issue

that far pre-dated
Roger Moore's,

because Ian Fleming's very own
Bond villain was back.

Kevin McClory
won the rights to Thunderball

against a court case
with Ian Fleming.

[Hendry] But it didn't
end there,

because, as you'll remember...

Ten years
after Thunderball the movie,

he would get the rights back,

and would be able
to remake that film.

[Hendry] Which is exactly
what he planned to do,

and he had
one gigantic ace in the hole

to make it work.

One Mr. Sean Connery.

Kevin McClory is very clever.

He says to Sean Connery,

"I want you to help me write
the next James Bond film."

And Sean Connery
had writing ambitions.

"I don't want you
to play James Bond,

"I want your help to write it."

[Hendry] With that,
Connery was back in.

All right,
let's get down to business.

[Hendry] And MGM's doubts
about Roger Moore...

Roger Moore
looked a little bit old.

[Hendry] ...wasn't such
a big problem after all.

That's the point
they said,

"We can't have an unknown Bond

"competing against
the best-known Bond,

"Sean Connery."

[Hendry] The Battle of the Bonds
was just beginning.

[Hendry] In 1982,
the Battle of the Bonds was on.

My name is Bond.

Oh, of course you are.

We felt
under increasing pressure

from the studio heads
at that time.

[Hendry] But don't forget,

McClory had made a deal
with Connery.

[Chowdhury] "I don't want you
to play James Bond,

"I want your help to write it."

That production is announced
as Warhead

with Orson Welles as Blofeld.

They've got mechanical sharks
attacking New York.

[Hendry] But it was soon

a feeding frenzy
for the lawyers.

[Chapman] Technically
and legally,

McClory didn't have the right

to remake the film
of Thunderball.

What he had was the right
to make another adaptation

of the screenplay he'd worked on
with Ian Fleming.

[Hendry] Sean Connery's script
was tossed out

faster than you can say "007."

And for Kevin McClory,
the message was clear.

We're gonna remake Thunderball.

[Hendry] So, back to square one,
and with a different writer,

McClory's new
Thunderball script,

ironically retitled
Never Say Never Again,

would still star the Bond

who said he would
never play James Bond again.

He agrees to doNever Say Never Again

for a sizable chunk of the gross
plus a $5 million upfront fee.

[Hendry] So, again,

Connery would be James Bond
at the same time

that Roger Moore
would be James Bond.

Both those films,
they have no earthly idea

how this is gonna play out.

[Hendry] Well,
it was time to find out.

With the mildly salacious
title, "Octopussy,"

Cubby Broccoli, John Glen,

and Roger Moore
headed to India.

We said, "Well, the Bonds
have never been to India."

[Hendry] And this time,
Barbara Broccoli

and her stepbrother,
Michael G. Wilson,

would have even bigger roles.

This wasn't blind nepotism,
they had to earn it.

[Chowdhury] In fact,
lots of people say,

Michael Wilson is treated
a lot harder

by being the producer's stepson
than were he a stranger.

[Hendry] And working in India,

Michael was working
very hard indeed.

[Julienne] When you see
the tennis racket

and the bad guy
with the big three blades,

hitting like this.

You see a bicycle coming
from the road

going through,
between the two tuk-tuk.

It's somebody
who came from nowhere.

It was pretty, pretty,
pretty funny and scary.

[Hendry] But Roger Moore
could go

one better than three wheels.

-
-

It was a special
Mercedes we make

with the wheels on the roof
and the wheel

under the bottom of the car.

So he was driving the car
on two wheels.

He was driving by himself.

[Hendry] But it wouldn't
be a true

John Glen-directed Bond movie
if it wasn't for... pigeons!

You're the pigeon wrangler,
I said, "Oh, thanks."

Stand by! Pigeon, pigeon,
pigeon, pigeon.

I'm on my box
underneath the camera,

and just as he goes across,
I throw the pigeon up,

and all the dust goes up,
and an egg comes down,

hits me on the head,
and goes down my face.

Roger's in hysterics,
the crew's in hysterics,

but that was Roger,
he was pulling gags,

and going out of his way
to make the crew laugh.

[Hendry] Meanwhile, to avoid
having egg on his face,

Kevin McClory
and his competing movie

had an extra $10 million
more to spend than Octopussy.

And boy, he intended to use it.

The production
of Never Say Never Again

was a mess.

[Hendry] And if anyone
should know,

it's this chap, Paul Tucker.

He was
the production accountant.

You had five different crews.

You had the underwater crew,
aerial crew,

you had second unit,
the main unit, splinter unit.

Like five films
working on one film.

Didn't have
sort of a continuity

of the Cubby Broccoli films.

It wasn't quite as organized.

[Hendry] Beginning
with the script.

The opening scene was originally
going to be a jousting scene.

[Hendry] But due to delays
and some bad weather,

the team needed a new opening,
and they needed it fast.

The writers had
to come up with a new scene,

and they were flown out
with the crew to the Bahamas.

They came up
with this terrorist type scene

which opened the film.

-
-

[Tucker] That was done
very off the cuff.

[Hendry] And things didn't
improve as the film wrapped,

with Kevin McClory's film
ending up in enemy hands.

[Glen] One day,
his rushes arrived by mistake.

They got mixed up
which Bond it was.

And we even paid for a car
to deliver the rushes back.

I didn't look at them.

I promise you
I just sent them back.

[Hendry] Well, it seemed

that for the Never Say
Never Again team,

maybe no one
was watching the rushes.

The first running
we had of that film,

we all sat back,
and the two writers said,

"Why did Bond
go to the Bahamas?"

And we all looked at one another
and said, "Yeah, why did he go?"

Because there was nothing
in the film to say why he went.

And everyone panicked.

There was a meeting

about having to do
some additional photography.

[Hendry] And having been
stripped of writing duties,

Connery saw another way
to get behind the camera.

[Tucker] Sean's reply was,

"I'll be directing
those scenes."

And we re-shot those scenes
with Kim Basinger.

[Chowdhury] But it helped
put the film under pressure

and, indeed, behind schedule,
which affected its release.

[Hendry] Several months behind
John Glen and Octopussy,

who beat McClory
and Connery to the cinemas,

making $187 million
against its $27 million budget.

They just made themselves
a very solid,

1980s James Bond film.

Spend the money quickly,
Mr. Bond.

I intend to.

[Hendry] John Glen
was solidifying his reputation

as the Bond director of choice
in this new era.

With Glen expanding
his signature move

from pigeons to tigers...

[Hendry] ...it was enough
to scare McClory and Connery.

[Glen] The other film,
I think they very wisely

decided to defer it.

They didn't want to go
head to head with us,

which was a wise move, I think.

[Hendry] However,
the performance

of Never Say Never Again,would surprise everyone.

[Hendry] When Never Say
Never Again is released,

it creates history.

Sean Connery's picture opens
with the biggest opening weekend

of a Bond film
in cinema history,

with over $9 million,
and is a huge critical smash.

Good show, James.

[Chapman] A lot of critics
welcome Connery back.

[Chowdhury] With his stunt-driven,

effects-driven,
set piece driven-style,

the audiences like it.

It grosses very well
internationally.

[Hendry] However, there's just
one stumbling point.

It does less well
than Octopussy.

[Hendry] Never Say Never Againrakes in

an impressive $160 million
at the box office,

nearly $30 million shy
of Octopussy's $187 million.

Close, but no cigar.

Um, no, I'm not going
to play it again.

[Hendry] As for McClory,
his rendezvous with Bond

didn't end here,

but that's another battle
for another time.

And as for the old...

We're gonna start having
"old man" Bond.

[Hendry] ...problem?
Cubby Broccoli?

Oh, he had no such concerns
with Roger Moore.

Roger Moore is announced
as playing James Bond

for a seventh time
in A View to a Kill.

It's got some incredible
stunt work

that goes in in there.

You know, you've got
an opening ski sequence.

It's going great
until the cover

of the Beach Boys song comes in.

♪ Well, East Coast girls
Are hip

♪ I really dig those styles
They wear ♪

That dive off the Eiffel Tower?

And then they actually
put two stunt men

atop the Golden Gate Bridge,

and had them doing
some fighting up there.

And you see all the traffic
below you going,

two lanes of traffic.

It was just fantastic.

[Hendry] But arguably,
the movie's best performance

wasn't from Roger Moore.

May Day played by Grace Jones.

She has this inhuman strength.

You know, Bond sleeps with her,

but Bond's kind of
afraid of her,

and not vice-versa.

And she is
the only woman villain

who chooses how she dies.

May Day.

It's really on her terms,
and not on his.

[Hendry] And on
A View to a Kill's release,

it was clear
the age-old age question

had found new life.

Critics said,
"He's a little long in the tooth

"to be playing James Bond."

I think the studio
wanted a new Bond.

I don't think there was a whole
lot of struggle over that.

It was a mutual decision,

Roger Moore was
almost 60 years old

if he was making
another Bond film.

- Would you like it hotter?
- James, you haven't changed.

And Roger, he felt uncomfortable
doing A View to a Kill

because he's in his mid-50s,

and he's traipsing around
with some girl

in her 20s or something.

And they knew
if they had to rejuvenate it

for a new era
and a new audience...

They had to tell Roger,
"It's time."

[Hendry] After seven films,
the beloved actor

who once saved the franchise
from an uncertain future

and turned it into
a billion-dollar behemoth...

...sipped his final martini.

I'm really not a vodka drinker.

I prefer Jack Daniel's,
a man's drink.

It was time to shake things up.

It was time for a new Bond.

[Hendry] Shaken or stirred,
one thing was for sure,

there would be more James Bond
without Roger Moore,

and Cubby wasted no time

beginning work on a film
called The Living Daylights,

inspired
by one of Ian Fleming's

last unadapted writings.

But who would play Bond?

And they went
through a bunch of names.

[Hendry] From Sam Neill...

My friends call me Bond...
James Bond.

[Hendry] ...to Mel Gibson.

[Glen] There's a money
issue there,

he was one
of the world's biggest stars.

[Hendry] But there was another
actor waiting in the wings

who played the title character
in the popular television show,

Remington Steele.

Phone call for Remington Steele.

Miss.

[Hendry] In 1985,
NBC's detective procedural,

Remington Steele,

was growing cold
in the ratings,

but it's Irish star,
Pierce Brosnan,

was piping hot.

Pierce Brosnan,
because of Remington Steele,

had this kind of Bond persona
that existed.

Pearson, Ben Pearson.

Special Agent?

Cool under pressure,
can dress very well,

very elegant, very masculine.

Very good at this sort of thing.

They felt
they had somebody there

that they could make
into James Bond.

[Hendry] But as fate
would have it,

Remington Steelewas yet to be renewed,

and Brosnan was
about to become a free agent.

However, there's one fly
in the ointment.

There was a 60-day clause
for the show to be renewed

if they could find new backers.

They just had to wait

for the contract
with NBC to expire.

That was it.

[Hendry] Cubby took the gamble
and cast Brosnan,

but it was mum's the word
for 60 days

to prevent
any outside interference

from souring the deal.

What is this fetish you have
for secrecy?

Anonymity is an asset
in my profession.

Unfortunately,
they played that hand

as well as they could play it.

[Hendry] But not
quite well enough.

Industry insiders
had a pretty strong clue

that he would be
the next James Bond.

Ironically,
that renewed interest

in Remington Steele.

NBC looked at it
and said,

"Oh, if he can be James Bond,

"we can exercise
the Pierce Brosnan

"Remington Steele contract".

[Hendry] And exercise it
they did.

With merely days to spare,
NBC renewed Remington Steele.

Pierce was angry,
he went on People Magazine.

He said,
"Take this job and shove it."

There was a lot of pain,
a lot of sadness there, anger,

'cause you really felt

that you were just manipulated,
you know?

And, um, you know,
the people who did it,

just short people, you know,
and they know who they are.

[Hendry] But the short people
had had their way.

Put him out of the running.

[Hendry] But it wasn't just
Pierce Brosnan who was put out.

We were getting close
to when we had to start.

We were already in preparation
at Pinewood.

We were making
the sets and things,

and pretty desperate
to find someone

because we had
to really make the film.

I happened to mention
Timothy Dalton,

and he'd had huge success
on his first film.

The Lion in Winter, 1968,
was the first film.

You could see great things.

The raw talent was there.

But he was
a Shakespearean actor.

He was probably overqualified
for Bond quite honestly,

but Cubby wasn't that crazy
about the idea.

[Hendry] As had been the case
in casting Sean Connery,

it was the other Broccolis
who helped him to see sense...

Michael talked
to Cubby about it.

[Hendry] ...especially
Broccoli's wife, Dana,

who plucked Sean Connery
from this little movie...

Sure you can see I need someone
to watch over me.

[Hendry] ...and made him
really big.

Dana Broccoli leads the charge
to get Timothy Dalton.

[Sherman] She told Cubby,
"Tim Dalton, he'd be fabulous.

"Looks like Fleming's creation."

[Hendry] Dalton certainly
looked the part,

and it sounded like
he understood Bond as well.

What I liked about Fleming
was the way

he could make everybody identify
with the situations Bond was in,

which made Bond a real hero.

[Hendry] But would Dalton
make a great Bond?

He got the job.

[Hendry] It was time
to find out.

[Hendry] In the fall of 1986,

production on
The Living Daylights began.

The question was,
could Timothy Dalton

continue the legacy
of iconic Bond actors?

Why me?

He's under the impression
you're the best.

[Hendry] Well, he was
certainly going to try to be,

but Dalton insisted on doing
much of his own stunt work,

which of course made
pigeon wrangler
slash stunt coordinator

Paul Weston's job
all that much harder.

He said he wanted to do as much
of the action as possible.

Which we weren't very happy
about at the time.

It was a bit dangerous,

but I had to trust him.

He said, "I want to,
I wanna look right,

"I wanna be James Bond
I wanna look like James Bond."

[Hendry] Of course, he couldn't
do it all on his own.

We had several doubles.

[Hendry] Including this legend,
Dominique Julienne.

I was a Bond double
to jump on the jeep.

The guy on the roof
of the jeep, he was me.

All the close shots
he was on the roof,

and all the larger,
large shots,

I was on the roof.

There was a big ravine
on the side,

and everything, so it was
a bit scary sometimes.

I'm afraid of heights.

Not good for my job.

[Hendry] The stakes were high.

If audiences didn't get
on board

with Dalton straight away,

it could spell disaster
for the picture.

We had four minutes
to make him the new Bond.

-
-

[Chowdhury] The Land Rover
crashes over a cliff,

and Dalton's Bond manages
to extract himself

from the Land Rover
using a parachute.

He has to make
an emergency landing

on a boat down below.

And John Glen said,

"This sequence,
by the end of it,

"you had to believe
the man was James Bond."

Who are you?

Bond, James Bond.

We did believe Timothy Dalton
was James Bond,

a James Bond
like we'd never seen before.

[Hendry] And it wouldn't be long
before audiences would see

something else they'd never
seen before in a Bond film.

To make Bond a one-woman person.

- But how?
- We'll manage.

[Hendry] Whoa, whoa,
hold on, hold on.

A fresh Bond is one thing...

Worried for you, James.

[Hendry] ...but to have
a monogamous James Bond?

I guess it was a sign
of the times, really.

There was
a great movement afoot

in the press and everywhere.

People from all over the world
were so worried about AIDS,

and so, we thought we were doing
the right thing at the time.

[Funnell] There's many times
where a man and a woman

get together in a Bond film,

and I don't feel any connection,

I don't feel any chemistry,

and yet here, I truly believe

that the two of them
are in love.

[Hendry] It was a huge risk
to change a formula

that had worked
in 13 previous Bond films...

Take me around the world
one more time.

[Hendry] ...and no small challenge

for the actress
taking on the role.

They cast the actress,
Maryam d'Abo.

[Hendry] And where
Cubby's wife, Dana,

had influenced Sean Connery,

and now Timothy Dalton's
casting,

now it was Cubby's daughter,
Barbara's, turn.

Barbara Broccoli actually
was a friend of hers,

and she said,
"Why don't you meet her?"

And she came down
to the studio one day,

and we met in Cubby's office.

The Broccoli family,

they all seem
to have become producers.

[Hendry] On
The Living Daylights,

Barbara Broccoli would be
associate producer.

And we watch her emerge
in casting, in music,

in various capacities
throughout the '80s.

[Hendry] In fact, the young
Barbara Broccoli's emergence

on the Bond scene,
was beginning to look like

an a-ha moment
for Cubby and John.

And in this case,
quite literally.

And that's how you get A-ha
to write the song.

She dragged me down to Croydon
to watch them in a concert.

She was more in touch
with what the youngsters,

you know, went for.

[Hendry] So, with a new Bond,
and a new Bond song,

and a new take on Bond's
polygamous behavior...

...zadnice!

[Hendry] ...Cubby and John Glen
would make sure

The Living Daylightswas still packed full

of what fans had come
to know and love.

-
-

The Aston Martin car chase
on the frozen lake in Austria

is a beloved scene for fans
for many reasons.

[Hendry] Bringing back
the iconic Aston Martin

for the first time
since the days of Lazenby,

hopefully, this would turn out

better than the last time
Bond drove one.

[Hendry] There was
one minor difference

between the two cars.

We built the Aston Martin
with dummy skids on it

so that it looked
as though it was all rigged.

The Aston Martin had to drive
into a wooden shed.

Somebody fires a missile at it,
and it blows up.

-
-

And we did all that for real.

[Hendry] But the most
dangerous element

wasn't the explosions,

rather, it was
the location itself.

The frightening thing was,
as you drove across the lake,

the ice would be breaking...

The ice wasn't
particularly reliable.

...and it made the most
extraordinary noises.

It went "crack."

And everyone tried to run,
but you can't run on ice.

It was quite funny.

On the day they did the car
on the ice, the ice broke,

and we nearly lost
the Aston Martin.

[Hendry] They might have
nearly lost the car,

but one producer on the set

knew how
to keep everyone afloat.

[Weston] Barbara ran out
with bottles of brandy,

and giving them drinks.

Barbara and Cubby
always looked after the crew.

They were wonderful people
to work for.

[Hendry] And once
the hangover ended,

the crew went on to shoot

the most iconic scene
of the film.

-
- Go!

[Chowdhury] Amongst
the most memorable

action sequences
of the Living Daylights,

is Bond's escape
from chasing Czech soldiers.

Glad I insisted
you brought that cello.

I came up with this idea,
I thought, "Well, a cello case,

"now, how can we use that?"

And I thought about sliding it
down the mountain.

[Hendry] Producer Cubby Broccoli

had some sharp notes
for John Glen about that.

[Glen] Cubby looked at me
in disbelief

and he made sort of
a rude noise.

He said, "No one could sit
in a cello case."

[Hendry] But John Glen by now

was redefining
the James Bond franchise

and wouldn't be put off.

Cubby picked the phone up
and asked for the music stage.

So they actually got
a cello case into the office...

I got into one side of it,

and Cubby sat
in the other side of it.

...and showed that, you know,

that you could run it
like a two-person sled.

So, we proved it was possible,
and the idea was sold.

We put two skis hidden
underneath the cello case.

And then we put two
almost like brake handles,

one on either side,

so that Tim
and a stunt man could,

to a degree, control the angle

that they were going at
by pulling the levers.

Went down the ski slope.

It was a fun ride, I tried it.

-
-

I love the cello chase.

[Hendry] And while
the cello chase

was a relatively
straightforward scene
to film...

[Bond] We've nothing to declare!

[Hendry] ...the polar opposite
would be the case

for the film's biggest stunt.

If it doesn't work just right,
it'll kill him.

[Hendry] John Glen's action
sequences were innovative,

and Dalton was
pulling them off,

but it would be the final
action sequence of the film

that would leave audiences
with a lasting impression

as to whether Dalton was indeed
a Bond for the future.

[Chowdhury] The signature
action sequence

of the Living Daylights

is where Bond is battling
on a cargo net,

dangling out the back
of a Hercules,

fighting the henchperson,
Necros,

played by ballet dancer,
Andreas Wisniewski.

[Wisniewski] I was a dancer,

and somebody sent
Eon Productions a picture.

They invite me in,

and I sort of
slicked my hair back,

and I looked like the character
in the script.

And that pretty much
clinched it.

I've worked with the Russians.

My appearance and methods
are well-known to them.

[Hendry] Like Dalton,
his adversary was committed

to making the film
as realistic as possible.

I did all the stunts except
for the parachuting stunt.

That was obviously
quite a dangerous stunt,

and my stunt double
was going to only use

one parachute under this jacket.

[Hendry] The stunt double
reluctantly agreed

to put on a spare parachute

before dropping
3,000 feet in the ar.

And it was a good thing
because that chute did not open,

and he needed the spare chute
to actually land safely.

It could have been disastrous.

What the stunt people
didn't envisage for

was the fluctuation of the net
that flew wildly up,

hitting against the top fuselage
of the plane.

And if it doesn't work

just right,

you know, knock him unconscious.

You can't pull your own rip cord

if you're falling
through the air

and you're unconscious.

It was serious stuff.

[Hendry] But, back
on the sound stages in England,

there was a much lighter mood

as the crew was expecting
some special guests.

Prince Charles himself

and Lady Diana were going
to come down.

It was around the time

we would be shooting
Q's workshop.

Assassination method,
explosive teddy bear.

[Hendry] And John would have
an explosive job

for the King in waiting.

Somebody's got a radio
that fires a missile,

so we came up with the idea
of Prince Charles

firing the actual charges...

...and he was great.
I mean, he was spot on.

[Hendry] Meanwhile, the Princess
had an idea of her own.

Revenge.

Lady Diana
thought it was fascinating

that they would use
what was called at the time

"Sugar glass" in the industry.

Like here's a fake
champagne bottle,

here's a fake glass.

We can throw a stunt man
through glass.

We arranged for the special
effects department

to have a prop bottle.

They asked the Princess
if she wanted

to break one
over the Prince's head.

[Glen] I think
Diana acted very well.

She gave him a good blow
to the head.

It was
in all the papers everywhere

because it summed up
what everybody kind of believed

about the tension that was
going on in their marriage.

[Hendry] And hopefully,

that extra publicity
would help,

because just six months later,
in July of 1987,

The Living Daylightshit the theaters.

Cubby Broccoli and John Glen
held their breath,

hoping Timothy Dalton would be
a hit with the audiences,

and that a one-woman Bond
would still be Bond enough

to ensure
a big box office return.

Uh, I was very worried.

[Hendry] Critics didn't love it,
but that didn't stop audiences.

Audiences, especially Bond fans,

absolutely adored
this new direction,

this brave new direction.

[Hendry] With the film
pulling in over $190 million,

more than four times
its $40 million budget.

And most importantly...

It's up on the box office

in comparison
to A View to a Kill.

[Hendry] $50 million up.

Living Daylights
was a big success.

[Hendry] Timothy Dalton
had proven himself

a worth Bond successor.

And for Cubby,
he knew just what to do next.

The producers began developing
a follow up almost immediately,

using the lessons

of Timothy Dalton's
incarnation of Bond.

[Hendry] John Glen
was back on board

to direct his fifth Bond film.

[Glen] We toughened
the films up.

We thought,
"We can do better."

More gritty, more realistic,

even more so than
The Living Daylights.

You do not kill without reason.

They wanted it to have a lot
more flair this time around.

They saw that he was
a much more serious actor.

He wasn't as light
with the one-liners as Roger.

A little present for you.

That enough?

They decided
they were gonna make him

a darker character
in the next Bond film.

Make a sound, and you're dead.

Instead of echoingStar Wars as in Moonraker,

they said, "You know what?Miami Vice is hot.

"Let's do a drug story."

Shall we take 'em now?

No, stay with the van.

[Hendry] And so the idea
for License to Kill was born.

A gritty drama with Bond
on a mission of revenge.

However, studio MGM
wasn't prepared

to invest blockbuster-sized
amounts of money

to ensure
that they had a blockbuster.

The problem was,
MGM were trying to economize

on the cost of these films.

MGM, by now, was faltering.

In those ten years
I was making them,

the budgets all stayed
around $30 million,

which by, you know,
today's standards,

is dirt cheap, quite honestly.

And Cubby was
under increasing pressure

from the studio heads
at that time.

We resented it a bit.

[Hendry] An unhealthy resentment

that would follow them
all the way to Mexico City,

where shooting
on License to Kill began.

[Chowdhury] When they shot
the first sequence,

Cubby Broccoli's taken ill
due to altitude sickness.

[Glen] We had to repatriate him.

We had him lay on a plane,

get him back to LA
for treatment.

[Hendry] With Cubby
incapacitated,

the producing responsibility
fell to Cubby's stepson,

Michael G. Wilson,

and his daughter,
Barbara Broccoli,

both of whom were
more than ready to step up.

[Richardson] Barbara,
she sort of grew up

on the Bonds, you know,

they'd been pretty hands on
all the way through.

[Hendry] Cubby's health
returned.

But when License to Killhit the screens...

License, it goes up against
some pretty tough competition.

It comes out
the same summer as Batman.

[Chapman] You've got
Indiana Jones
and the Last Crusade,

you've got Lethal Weapon 2.

[Hendry] The film did well
by Hollywood standards,

almost five times
the film's $40 million budget,

but by Bond standards,

it failed to hit the high notes
of previous films.

It just didn't quite live up
to what audiences wanted.

And, unfortunately,

License to Kill,
it's the end of the era.

Then you have my resignation.

[Hendry] Timothy Dalton's future
as Bond

appeared to be in the doldrums.

Effective immediately.

[Hendry] License to Kill'sperformance at the box office,

gave it the dubious honor

of being the least
commercially successful

Bond film at the time,

prompting a change of direction
for the franchise.

Trade papers started to write,

"Maybe this thing is all done,

"maybe its time has passed,
people aren't seeing it."

It was a bit too hard,
I think, probably,

the subject was too hard
for people to swallow.

[Hendry] But where would
the franchise go

after License to Kill?

[Chowdhury] Timothy Dalton
was signed for four Bond films.

[Hendry] So, after going
serious spy thriller...

It is deemed that the production
should refresh itself.

[Hendry] ...Cubby Broccoli
thought

maybe it was a good idea
to bring back the girls

and gadgets.

Inside, a tear gas cartridge.

That goes in the case
against the side here like that.

There were
two different versions

of Timothy Dalton's third Bond.

The TV writer of Miami Vice,
Alphonse Ruggerio Jr, is hired.

Broccoli read it and said,

"That's the best Bond opener
we've ever had."

[Sherman] There are
robots involved,

not just robots, drones.

Bond jumps out of a building
and holds onto a drone

and rides it down to the ground

'cause the drone fails
from his weight, great idea.

[Hendry] Unfortunately,
the same couldn't be said

for the rest of the script.

Seemingly somewhatDie Hard inspired,

which had been
the big hit of 1988.

Come down to the coast.

We'll get together.
Have a few laughs.

It involves various unique
and novel technologies.

[Sherman] There was a sex robot.

This is prefiguring
Austin Powers by like a decade,

but how weird
would that have been,

for a Bond villain to be
making love to a robot?

'Ello, 'ello.

Hello, Mr. Powers.

Really strange stuff,
even for the Bond series.

Another group of writers
were brought in.

Davies and Osborne,
they had written Twins,

and they took the script
in a different direction.

[Hendry] A different direction

that they spent years
trying to avoid.

[Edlitz] And that was that
the character of James Bond

was a little bit past his prime,

and a little too old
for this stuff.

[Hendry] "Old man" Bond indeed.

It became
more of an action comedy,

and has Bond going to a rodeo
and wearing a cowboy hat.

Actually, the idea of seeing
Timothy Dalton in a cowboy hat

kind of tickles me.

[Hendry] But before James Bond
could get to his first rodeo,

the entire franchise was thrown
off the horse

by Bond's ultimate villain,
the bean counters.

The financial situation
at MGM and United Artists

collapses in on itself.

MGM is in trouble again
by the late 1980s.

They are purchased
by a gentleman

named Giancarlo Parretti.

[Hendry] But it was far

from a straightforward
purchase,

because Parretti
was very well aware

of the massive stake
in the Bond franchise

that he'd receive
if the purchase went through.

All thanks...

Harry sells
to United Artists.

[Hendry] ...to when
Harry Saltzman sold

his 50% share
to the studio years ago.

And now, Parretti used
that potential share

as collateral
to help fund the purchase.

[Chowdhury] Parretti,
in order to finance it,

had promised the rights
to Bond TV output

to other parties
at a knock-down rate,

therefore negatively impacting
Cubby Broccoli.

[Hendry] It was a brazen act,

and Cubby Broccoli would not
go down without a fight,

and along with his stepson,
Michael G. Wilson,

the real Battle of the Bonds
commenced.

There was a battle
between MGM and Cubby.

Cubby Broccoli saw
that the Bond revenues

were being diverted
from under him,

and sued in order to recover
that situation.

[Hendry] It was a battle
for the ages,

Broccoli versus the studio.

A lot of money involved
and a lot of control involved.

[Hendry] Perhaps this time,

Cubby Broccoli
had met his match.

Around about this time
of legal tumult,

there was a press announcement
headed by a Bond publicist

that Broccoli was looking
to sell the Bond franchise

for approximately $200 million.