Interview with Kai Martin – stuntman who has played in 5 James Bond films

02 Tuesday Jun 2020

Posted by Piotr Zając in Casino Royale, Kai Martin, No Time to Die, Quantum of Solace, Skyfall, Spectre

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Casino Royale, interview, Kai Martin, No Time to Die, Quantum of Solace, Skyfall, Spectre, stuntman

Kai Martin has been professional stuntmen for nearly 2 decades. He has worked on 5 James Bond films – from ‘Casino Royale’ to ‘No Time to Die’. In four of them he was Daniel Craig’s stunt double. Find more on his website.

Piotr Zajac (bondlocations): You have played in 5 James Bond films – all with Daniel Craig as 007. How you got there?

Kai Martin: I became qualified stuntman in 2001. Then I’ve worked in Madrid for a year in live shows and in Germany for 6 months afterwords. In 2004 I got into films. Next year my grandmother died and left me some money. I always wanted to go to China to train with Shaolin monks. I took that money and went there for 4 months, what was a big thing for me. Amazingly just after return I got a job on ‘Dr. Who’ as one of Shaolin monks. My wage was just more or less about what I’ve spent in Asia. Travel to China really raised the bar of who I was as a man I guess and in terms of my skills and my overall ability. Then I got a call from Gary Powell, which I couldn’t believe, in December 2005. I was then aware that Daniel had been cast. Looking at him I knew I could do it, I could be Bond. I just had this intuition that it could happen to me. Fortunately I had some good friends: Adam Kirley, Lee Morrison, Glenn Foster, Ben Cook already working on the Bond film. I think it was the last minute December 2005. Gary needed an extra stunt double for Daniel and he called me. He spoke with me a little bit about the job and asked me to come to Pinewood Studios on second or third January 2006. It was quite a dizzy period for my mind. I couldn’t belive this potential opportunity was kind of around the corner. There was another guy taking part in audition. We both met Gary and went to meet the director. Martin Campbell was an amazing guy. Then literally as I was walking out he just said: ‘Kai you are going with us tomorrow. Pack the bag, we are going to Prague’. That was pretty much it. If think when Gary called me I was in Spain riding motocross bikes. I returned on January second or third. In the afternoon I was packing to go to Prague. At that time especially after going to China my fitness level, my whole body was of ready. I had no idea what ‘Casino Royale’ was gonna be, none of us really did, but I was so ready. Training in China for 6-8 hours a day, mentally living that kind of lifestyle that preceeded phone call from Gary put me in the right place. I think that without going to China I could not survive (smiling). That it how it initially began for me with Bond.

Was it something special for you to be in James Bond film?

To be honest Bond for stuntmen is like olympics for athletes. It is iconic. Especially for Englishmen. Traditionally James Bond is tall, dark and handsome. I naturally gravitated towards those films and loved them but never trully could imagine myself being a Bond because of hair color, height etc. When Daniel got cast I thought I could do this. That was the shift. Daniel with light hair is quite contrast to previous Bonds. When it did come round I couldn’t believe it. It was incredible.

For the first time we could see you on screen in ‘Casino Royale’ opening scene.

The actual crane to crane jump was done by Ben Cook as James Bond. Adam Kirley was doubling for Sebastien (Foucan). Unfortunately Ben broke his hand. Ninety percent of that sequence still needed to be filmed. That is when I jumped in. So Ben did the main jump and all the rest is myself going up and down the crane. We shot all of that on location. All close ups of Daniel and actors were shot low down but still in the Bahamas. We didn’t go to Pinewood to finish anything there.

Kai Martin on the set of 'Casino Royale' — – Kai Martin is running on the crane as James Bond and Daniel Craig is looking at him doing the stunt. Photo courtesy of Kai Martin.

It was not the only scene when we could see you in ‘Casino Royale’?

I was also in a sequence with Bond chasing the bad guy through the airport.

You were jumping on a truck with fuel?

Yes. That was really hard. I think it was a week or two in Prague and all the rest was at Dunsfold at night. James Bond runs up the stairs, jumps off. That was pretty tricky to roll off and catch the last minute.

How did you prepare for that stunt?

We didn’t rehearse for the airport sequence. I just pretty much did it which sometimes has to be the case. Sometimes you just have to do it. You can rehearse, rehearse and rehearse, put all the safety factors in place, understand where the cameras are gonna be, but sometimes you just have to go for it. That was pretty much that. I didn’t know what was coming in the airport and I’m glad I didn’t, really. (smiling) I remember that being one particularly hard night. Just getting the timing right, not fall at the back of the truck. I’m glad we didn’t rehearse, just did it. Even if you rehearse things can be different. It is nice to be organic, go for it and see what happens.

In ‘Quantum of Solace’ we could see you in foot chase sequence in Siena in Italy.

In February 2008 we shot all the interior in Pinewood on 007 Stage. That was the fight on the ropes in bell tower. There was Daniel, Glenn Foster and myself as well as Richard Hansen. I’ve done lots of stunt work with Rich. We’ve shot all the fights, coming off the scafolding, unravling, grabbing of the gun etc.

Kai Martin on the set of 'Quantum of Solace' — – Kai Martin filming the fight on the ropes in bell tower. Photo courtesy of Kai Martin.

How did you prepare that complex sequence? It looked very spontaneous, very natural, but I am sure it was planned in details?

That was extremely hard work. We’ve started preparation in October 2007 as I remember. Actor Gavin Marshall known for an impressive rope work was brought it. You can’t learn in few months something that someone has done for lifetime. The thing is that the stunt has special skills whatever it is, but it always comes back down to performance. The stunt is a performance at the end of the day. We did rehearse that for a long period of time, but because of the nature of that, it was very tricky with ropes moving all the time. We did have choreography but then things got changed in a moment quite quickly and we had to adapt.

How long did that sequence take from the idea to the final shot?

Months. I would say that for me personally it began early October 2007 and finished at the end of February or maybe beginning of March 2008. That was my life – hanging on ropes. I remember that it was hard work, because main unit was shooting on 007 Stage in a day time and we had to shoot at night. It had nothing to do with actual location etc. but it was just logistics and scheduling thing. At 3 a.m. I was 60 feet up in the air with rope wrapped around me. For me personally that was very hard from start to finish. In ‘Casino Royal’ I had to jump on moving truck that was hard but in one evening it was done. It is a creative process, you are learning all the time. Sometimes it is good to have some preperation and sometimes it is good to do it in one day.

You were also doubling Daniel Craig on location in Siena.

We went to Siena at the end of March or beginning of April 2008. We’ve spent a good few weeks prepering for exterior scenes. Bond chases Mitchell, he goes up the window and he jumps on the bus – that was me, I rehearsed that. I rehearsed the long jump across. I remember braking a rib and a finger. I got to do that in Siena. That was a good stunt. Bobby (Hanton) did a lot of exterior work in Siena and also Daniel did a lot of it. He did one roof to balcony jump. I think he hurt his shoulder but he did it. I was there watching. That was a big jump and Daniel did that. They were coming off the roofs. Bobby had done some stuff on the exterior. Then it came back to Pinewood and it was me falling down the roof because it was collapsing. Then it was Daniel in Siena. He jumped from the collapsing roof onto the balcony. Then he proceedes across the balconies. I rehearsed it at Pinewood with all the measurements and then we went to replicate it on location. That is also the stuntman’s job. Sometimes in the studios with tape measure you can design the scale of what they want to have on set and check if they can make it. At first the jump would be too big for Daniel so we had to modify that. That was a very elongated process as well. This is making movie and that is why it works. When you do rehearse to get it right then you can replicate it on location.

In ‘Skyfall’ we could also see you drowning as James Bond in title sequence.

Yes. I couldn’t believe it because James Bond title sequence is so iconic. That was the sinking hole.

How was it filmed?

It was amazing. It was filmed at Pinewood studio in 007 Stage – underwater. I was in the underwater tank dressed in Bond suit. There were also two Bond girls and their job was to grab off my body.

Kai Martin on the set of 'Skyfall' — – Kai Martin in the underwater tank at Pinewood Studios. Photo courtesy of Kai Martin.

How long did you have to stay under water?

In that particular sequence maybe 10-15 seconds. It was just sinking, holding my breath and the girls grabbed me. We also did the underwater fight under the ice. That was Ben Wright and myself. It was specifically hard because it was underwater. You loose the air rapidly and it is very difficult to communicate. That was another part I did in that film.

Did you rehearse that fight without the water at first?

We knew the choreography, we knew the moves but obviously when we added the element of water that could change it. If you want to hold someone very close it is very difficult to do under water. You have to put so much effort to your moves to get that kind of energy that is necessary. That was quite challenging to work on.

‘Spectre’ was your only 007 film so far in which you were not James Bond double.

Yes. That is correct. I was asked to be Bond double, but unfortunately in that particular time I just couldn’t make it. I was very fortunate to get call back to play the helicopter pilot.

Kai Martin on the set of 'Spectre' — – Kai Martin as helicopter pilot with Daniel Craig’s stunt double Andy Lister (in the middle) and Alessandro Cremona’s stunt double Rob Cooper. Photo courtesy of Kai Martin.

In this film we could see your face. Actually Chuck Aaron was your double. I guess that fighting in a helicopter mounted on special rig in Pinewood Studios was not as challenging as your previous stunts.

It was the least challenging as oppose to underwater fight, flying on ropes or being on cranes. But it was on a gimble that changed a lot. We had to be careful because it was easy to get bumped, but it was pretty straight forward in comparison.

You were also in ‘No Time to Die’, but I guess we should not talk about it now, before the premiere.

Yes, that would be best. I’m personally very proud that I’ve done all five of Daniel’s films. I was almost in every opening sequence and every trailer. I’m sure that ‘No Time to Die’ will be a great films. For me personally it is like the end of an era. As it is for lots of people, obviously for Daniel. We’ve done that journey from 2005 to 2020. Even once we’ve done one Bond film we were very aware that there was probably going to be the next. That is why it is even more unique. I was very, very happy that I was in all of them.

May 9th 2020

Interview with Julian Glover – villain Kristatos in ‘For Your Eyes Only’

26 Tuesday May 2020

Posted by Piotr Zając in For Your Eyes Only, INTERVIEWS, Julian Glover

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Aris Kristatos, Aristotle Kristatos, For Your Eyes Only, interview, Julian Glover

Julian Glover played villain called Aristotle ‘Aris’ Kristatos in ‘For Your Eyes Only’. He is a recipient of the Laurent Olivier Award. He was also appointed a Commander of the Order of the British Empire. Besides theater he is known from such movie hits as ‘The Empire Strikes Back’, ‘Indiana Jones and the Last Crusade’, ‘Game of Throne’ and many other.

– Julian Glover and Piotr Zajac during the interview.

Piotr Zajac (bondlocations): You were one of the candidates to play James Bond in ‘Live and Let Die’?

Julian Glover: I was one of several people who were tested for James Bond. I think there were six of us. I didn’t do a very good test I’m afraid and I didn’t get the part. That was the end of that. At that time all six of us knew that it had to be Roger. When he was sitting there and waiting he was a living, breathing James Bond. Indeed we were right. I’m really glad that he got the part because he was brilliant Bond.

In my opinion you would be also good as James Bond. Your character in ‘For Your Eyes Only’ was an elegant and tought man. You were very convincing.

As a villain (smiling).

Not from the beginning. It turned out that you were villain later in the film.

Yes, you don’t know that at the beginning. Like in ‘Indiana Jones and the Last Crusade’ you don’t know that my character is a bad man until maybe 30 minutes until the end of the film. It is interesting that you said that, because the reason I got to James Bond film was that producer Cubby Broccoli and his wife Dana had been in England and they’d seen on television ‘Doktor Who’ that I did. In part of it I was very confident, very well dressed Englishman. I was pretty certain that they called for me to see them because of that. I got the part under very strange circumstanes. I had a very bad year in the theater and so had my wife. In fact we got to that awful point of thinking that parhaps we would have to sell our house. Suddenly one day I was asked to be in an American film with Anthony Hopkins in Greece near the Corinth Canal. The money wasn’t very good but at least I got a job. I arranged that my wife would go there with me. At the end of it there was an American Screen Actors Guild strike, so all American films were called off. Suddenly I was again down at the bottom. This is the actors life. The next day my agent rang and said: ‘Go along on Saturday’. ‘Saturday? Nobody goes to work on Saturday’ I said. ‘Go on Saturday. They are making a funny film about the Greek Alexander the Great. They are interested in you playing his father. There is not much money and I don’t know much about it’. I went along and I got the part. It was the next week in exacly the same location as the American film. My wife and son went out there before me when the other film was supposed to start. I joined them and did that very short film. Towards the end of it I was rang by my agent who said: ‘They want to see you for a Bond film’. I said: ‘I don’t believe it’. He confirmed that and said: ‘Next Sunday’. My answer was: ‘Absolutely impossible. I can’t get there. I’m filming all day Saturday’. He replied: ‘Well, there is an interview on Sunday. If you want it you can get it’. I went to a first assistant and explained. He said: ‘Oh, this is rather important’. I said: ‘Yes, it is a bit’. He arranged so that I finished at lunch time. I went quickly to the airport with all my make up still on. I got two airplanes to go home. It was in old days when they had propellers on the front. I got the part. It was extraordinary how actor’s life could change. Bond film started in Korfu which was 20 minutes away by air from Corinth. I jumped over and the first thing that I got was brown envelope with my per diems which was more than my salary for the whole film I was doing before. I entered another world. It changed my film life. That is the complicated story how I got the part.

In ‘For Your Eyes Only’ we could see you for the first time in Cortina d’Ampezzo in Italy.

In Cortina there were bobsleigh runs, ski runs and other sports facilities after Olympis games. We were able to use all that as a background to my protegee Bibi, who was going to be skating World Champion.

There was a problem with not enough snow when you were filming.

Yes. We had to bring snow in. I think it was for the scene when motorcycle crashes into the window. When you go to film the weather always changes from what you expect. I remember many years ago going to Irland to do a film about one of old English kings. They wanted obviously wet, lush countryside that only Irland could give. And there was a heat wave for 3 weeks. Everything dried. My wife did a film in Paris and it was supposed to be summer. It was in October by this time and all the leaves came off the trees. They had to stick leaves on trees.

How do you remember filming the sequence in palace in Greece with many extras. Did you have to repeat it many times?

Yes. In particular in a casino scene when you have to see cards from different angles. You have to see everybody. It was a complicated day and not very nice because it got very hot. It was a day as working on film. Roger was wonderful with keeping the mood up, keeping people in a good temper. There was a scene which I had in an outdoor restaurant. All the local gentry, very smart people on the island were extras. They thought that it would be very amusing and entertaining. By two o’clock in the morning they realized that it wasn’t very terribly entertaining and they started to drift away. You can’t have that because the background has to stay the same. Roger devised the thing. There is a moment in the scene when I am presented with my meal – Preveza prawns. We came to that moment and we did a take on it. The waiter tipped all the Preveza prawns all down my front. Everybody went mad. Everyone rolled with laughter. People who had been going away came back because they found it so amusing. Then we looked up and saw that the waiter was in fact his wife who put a mustache on and she was the one who had done it. Roger had organized that in order to keep people entertained. He talked to the right department about it of course. I had a spare suit and it was all arranged. That kept them going until five in the morning. That was sort of thing that Roger would do. He was wonderful. He was such an amusing man anyway. Very good in conversation, very intelligent man. He knew a great deal about theater apart from films. I enjoyed working with him. We’ve worked together before i.e. on ‘The Saint’. I sort of knew him, I didn’t know him very well. We liked each other. When I got to do a Bond film he called me ‘Mr. National Theather’ because my life is mostly theater and that was my name for the whole of the filming. He came after the film to see everything I did in theatre. Roger was a wonderful man. The atmosphere on film set was always good when he was on it because he knew all the crew by name, he worked with them all several times, he loved other actors so we all got on, we laughed and joked. But he was very serious when doing a work. He was very intolerant of poor work. Not when people forgot their lines, because everybody does that, he did it, but when the work hadn’t been thought through. He was quite impatient of that. Quite right too. He was a good man. Great loss to all of us.

In ‘For Your Eyes Only’ there was also Topol, who was eating pistachios all the time.

He decided that he needed to have a special habit and also something to do with his hands. That is always a problem what to do with your hands – put them in your pocket, scratch your head etc. Eating something was very good idea. He loved pistachios too, so he used to love eating them. When he was filming we would sometimes go round and lean over his shoulder to take some of the pistachios for ourselves. He had to be very careful to eat pistachios at the same time for every take. Sometimes we said to him: ‘Hahaha your are not keeping up your good idea. You didn’t eat the pistachio on that word, you eat it on that word’. He replied: ‘Oh yes, we go again’. He was very nice man, very amusing. He was also a very good actor. We got on very well. I got on very well with the whole crew really. I knew some of them i.e. camera operator, I knew wardrobe people pretty well and I got on well with Carole Bouquet, but she had an unfortunate trauma on that film, so she didn’t socialize very much. I met her again much later. I did a film called ‘Vatel’ about revolution in France with Gerard Depardieu. She was then with him and between takes she was coming to the location sometimes. We had good time talking about Bond film, what was good about it and what was bad about it. She is very good women. She is now working with abused children. I didn’t have any particular friend on ‘For Your Eyes Only’, because I was too busy. I’ve spent a lot of time with director John Glen. We used to go out in the evening and have dinner together and with Roger.

How is John Glen like?

He is big lovely bear of a man. It was his first directing job and it was very, very big for him, but we never treated it like that. We never teased him about: ‘Oh, you are doing it that badly because you’ve never made a film before’. He wasn’t secure enough for that. If he’d done a couple of films before we could tease him about it. He was very serious man. He had very good sense of humor, he loved when Roger made jokes. You know, Roger used to play backgammon with Cubby Broccoli. At the end of the film Cubby Broccoli owned Roger 2,5 million pounds. Of course it was never paid. Roger was saying: ‘I’ve got to be in the next film Cubby because you owe me that money’.

You were filming also on a boat.

It was the first day of my shooting ever. We did the first day on a boat and than I had to wait the whole day to see if I were still in a film, because in those days the rushes had to go back to England. I wasn’t sure till they got back. Cubby Broccoli could see the rushes and approve my performance that I was secure. I was and I did the movie.

Was the sequence in water with James Bond and Melina Havelock filmed with Roger Moore and Carole Bouquet or with stuntmen?

Some of it was. When they came up and tried to talk to each other then it was Roger Moore and Carole Bouquet of course. That was done very carefully with no danger at all. The rest with all underwater part was done by couple of doubles in Los Angeles, except when they went very close.

How about filming in Meterora in Greece? At first you didn’t get permission to be there?

That is right. The monks who lived there wouldn’t allow us there. Down below in the town they wanted us to do it because of the money we were bringing. Finally we got permission to film there. The monks hid themeselves and we never saw them. We all had to go up in a lift which was very exciting. It was wonderful there. The fantastic jump or actually fall on a rope was filmed there. The stuntman’s face when he’d done that was like a ballon with blood in that. It was very frightning and he only did it once. He said: ‘You must get this in one shot. I don’t do it again’. Filming the climbing was very difficult. Roger did some of that, but only the close work around 6 ft. from the ground. We just had to be actors. Nothing dangerous except the fight. The surface of the ground was so rough and sharp. We had special shoes because ordinary shoes were not good. We had pads on our elbows and knees in case we fall down and we did fall down. Topol and I were like Michelin men. Landing a helicopter on the top was very dangerous thing to do. It had to land exactly in the right place so that was quite exciting.

Did you damage real windows in Meteora?

It was filmed in the studio. It was when I am turning very nasty and Bibi is rather affraid. There was lovely Jill (Bennett) as Jacoba Bring who covered Bibi. Jill was very good actress.

Thank you for telling me so many great stories from the film set.

May 14th 2020

Interview with Irka Bochenko, who has played in ‘Moonraker’ with Roger Moore

22 Friday May 2020

Posted by Piotr Zając in Irka Bochenko, Moonraker

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Irka Bochenko is composer, text author and singer known as Iren Bo. As actress she played in ‘Moonraker’ and had many roles in French TV series.

– Piotr Zajac and Irka Bochenko

Piotr Zajac (bondlocations): At first I would like to ask how did it happened that you got to the ‘Moonraker’?

Irka Bochenko: I started as a model when I was 14. I was modeling when my agent told me about audition for ‘Moonraker’. At first I wanted to get big part, to play Dr. Holly Goodhead. Margot Capelier, who was responsible for casting, told me that I was to young to play leading or even supporting role. I was very upset, but she promised me that it would be very beautiful role and that I should do it. She convinced me.

Was it something special for you to play in James Bond film?

At the time when I was playing in ‘Moonraker’ nobody new that James Bond franchise would last that long. I even forgot that I was a Bond girl. I became author and composer in France. I’ve changed my artistic name to Iren Bo.

Did you know James Bond before you got the part?

Yes, I new the franchise but at that time mostly men were fans of James Bond. He was popular but not as much as currently.

Your first appearance on the screen was in the scene filmed in Venini Glass shop at Saint Mark’s square in Venice. Am I right that there were lots of tourist around while you were filming?

Yes, there were a lots of tourists. It was very strange and very funny, but also very special with all these people around.

Was it filmed as your first scene?

No. It was the last one. At first I went to Argentina, Guatemala, and Paris. I think that Venice was the last one.

What are your memories from Venice?

I remember that Roger was in gondola and I was taking pictures of him. He just stopped in front of me saying: ‘Come with me. We are going to have picture together’. There was nobody around so I just took pictures of him. I still have these photos. It is a beautiful memory. When he was riding in gondola on a square he was laughing all the time.

Was it true that there was a sound signal in that gondola on wheels to warn people who were just turists and didn’t know about filming?

Yes, that is true.

Later in the film we could see you in the sequence with Roger Moore walking at waterfall. It was filmed in different locations?

Yes. It was in Argentina and Guatemala. I remember that we were wet because it was very hot. Hairdresser had to work all the time, makeup had to be corrected.

The place called the Great Chamber where you led Bond was filmed in a studio?

Yes. It was in the Les Studios d’Épinay in Paris.

I’ve read that Roger Moore recalled how you were surprised with the change in the studio when space station was replaced with the great chamber set.

Yes, that was me (laugs). It was funny to see how it was changed.

In that scene you were working with Michael Lonsdale who played Hugo Drax.

Yes, I met him many times in the studio. What is funny, I met him ten years ago in a hotel in Marseille. We were talking about the film.

Culmination of the film was the sequence in the space station. How did you film no gravity?

Before filming that scene we were trained how to move very slowly to pretend that there was no gravity.

How do you remember working with Roger Moore?

It was fantastic. He was exactly the same person in his life as in movies. He was very kind to everybody. It was really great to work with him. He was very nice and had a lot of humor. He was fantastic. He is my favourite James Bond. 7 years ago I recorded a duet with him. I was invited to London to sign autographs. It was the first time, because in my life I focused on music and really forgot about James Bond. When I was there I was told that next year there would be a 50th anniversary of James Bond. I realized that they didn’t forget anybody involved in the James Bond franchise. I felt like being part of big 007 family. I said to myself that I should do something for the 50th anniversary. I was author and composer in France, I wrote a lot of songs for various famous artists i.e. Garou, so I wrote a song called ‘Happy Birthday Mr Bond’. I’ve sent an e-mail to Sir Roger Moore’s agent and the same day I got an answer that he would do a duet with me. It was beautiful experience for me. Now I am working on two new versions of that song. We were going to release them in April with the premiere of new Bond film, but it was postponed. We are planning to release them in November unless the film premiere will be postponed again. New versions will not be called ‘Happy Birthday Mr Bond’, but ‘Love You Forever Mr Bond’. Roger was asking me all the time when the recording would be released. My answer was still: ‘Come on, wait a little bit longer. I want to do more versions’, but he passed away and we are going to miss him so much.

And how do you remember the producer Cubby Broccoli?

He was great person. When I was in Venice we had a drink together and he proposed me to go to London to work as an actress. He told me that I could be a big star. I was young and I was scared. I said ‘yes’ at first but finally I didn’t go there.

Do you remember any story with the director Lewis Gilbert?

When I arrived to Brasil he came with his wife to pick me up from the airport and took to the hotel. He was very nice. I felt almost like his daughter. He was asking me all the time if I was OK.

Thank you for the meeting and for sharing stories from ‘Moonraker’.

May 7th 2020

Interview with Jany Temime – costume designer for ‘Skyfall’ and ‘Spectre’

10 Sunday May 2020

Posted by Piotr Zając in Jany Temime, Skyfall, Spectre

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costume designer, interview, James Bond, Jany Temime, Skyfall, Spectre

Jany Temime is awards winning costume designer. She has designed costumes for such blockbusters as 6 films about Harry Potter, ‘Gravity’, ‘Skyfall’, ‘Spectre’ and many other.

Piotr Zając (bondlocations): At the beginning I would like to ask about ‘Spectre’ opening sequence. There were so many people involved. What are your memories from working on that sequence?

Jany Temime: There were wonderful people in Mexico. We’ve opened a very big workshop there. Lots of talented people, great artists were making the masks. They were students from the academie, full of energy, creativity. Nothing was stopping them. They loved doing it. Working with those Mexican people was wonderful experience.

There were so many costumes. Did you have to create them all?

I’ve actually spent a week there. I’ve divided costumes into four themes: death, historical, wedding and folklor. After dividing them into four groups I actually had to make around 40 designs; 10 for each theme. Out of these 10 costumes there were different shapes and colors in different combinations. Actually it was more like arithmetics. I had time to organize it in such a way that we had different patterns that were made from different fabrics. My Mexican assistant went to London to buy the fabric, because fabrics were better in London than in Mexico.

007 films are famous for James Bond suits. In ‘Skyfall’ and ‘Spectre’ Tom Ford was the supplier. How did you work with him?

It was very good collaboration. Tom is film director and he understands exactly the job of costume designer. He was never trying to do more than he was supposed to do, which was making Daniel’s suit. He got me incredible tailors to work with and he completely respected my input. He gave me complete artistic freedom. I told him what I wanted to do and although it was not his style he completely respected it and he did it. We really worked very well together. I keep on seeing them and work with them on another project. They are wonderful.

So you’ve designed the suit and they’ve produced it according to your project?

Yes. I told Tom that I wanted to have dark blue tuxedo. Then I identified shape of jacket and trousers. He just sent me his tailors and they did exactly what I wanted.

How did you do, that Bond’s Walter PPK was not visible under his suit?

It was done by giving a little bit more of fabric where the gun should be. It was just clever tailoring.

How about action scenes? The suit fits very well all the time.

It was so, because suits were made very well and every suit was made for different action. Suits for motorbike had longer arms, longer legs and they had bigger seat. We didn’t make one suit. We made different shapes depending on a stunt. We also made different suits depending on the stuntman, because lots of them didn’t have Daniel’s size. They had to be made specially. Whoever was wearing the suit it was made for him.

It is visible that in ‘Skyfall’ the colors are very important.

It was first approach of Sam Mendes. He had in mind very classical film noir. It was also what I wanted. I remember Jean-Pierre Melville’s film from 1970 (‘Le cercle rouge’). Do you remember Alain Delon? That is how James Bond should look like. I knew that Daniel Craig wanted Steve McQueen, so I always kept Steve McQueen in my head, but in my mind I was thinking of Alain Delon. I wanted a sort of bad boy, but beautiful, sexy bad boy and we got that. I must say that big part of the aesthetics was coming from the director. It always comes from the director. I like a lot this sort of aesthetics, so I thought I could bring a lot in the film. Sam Mendes had it already in his mind from the beginning.

Did you also had in mind how colors were important, especially in ‘Skyfall’, while designing costumes?

I’ve designed costumes for the colors of scenes. It was intentional because ‘Skyfall’, even the name, was a sad film. ‘Spectre’ was different. It opened in Mexico in colors, so it was very difficult after that to catch it back. ‘Skyfall’ was first introspection of James Bond. It was reflective film, very different from ‘Spectre’. Colors in ‘Skyfall’ match completely with the sort of film that Sam Mendes wanted to make.

In James Bond films there are not only suits for 007, but also beautifull dresses. I’ve read that creating the dress for Severine, played by Berenice Marlohe in ‘Spectre’, took 6 months.

Yes, but it was not so much that we were designing it for half a year, but it took so long to have it made. Berenice Marlohe was training and her body was changing slightly, but enough for such a dress. I think that she was becoming more and more Bond girl, Severine, therefore it had to be adapted. It is very difficult when a girl who is sort of new actress has to become Bond girl. You can not just put a dress on her, you have to let it grow on her and that is why it took such a long time. I’ve also designed sort of tatoo on the back that Swarovski made with the technique of ironing it on tulle. It was time consuming because it was new process. It was very complicated dress. It took time to make it perfect. And then to produce it, because we needed to make 10 of them.

What about costumes for all other characters. Did you design all of them?

Yes. Sometimes it goes very quickly and you have it straight away. Sometimes it takes time. I remember in ‘Skyfall’ costume for Javier Bardem was very time consuming. We really didn’t know which way to go and neither did he. He wanted to be different sort of villain. He had in his mind that slightly homosexual scene therefore he wanted to be desirable. He thought that the scene would just work if he would be as sexy as Daniel Craig. I completely understood that. I thought that it was very strong point. We had to accept complexity of what was happening between those two men. It was very interesting. We could have gone different ways. I had in my mind even something Japanese at certain moment and then we went for sort of Nouveau riche, not really, but ostentatious. It was completely different image than Bond. Slightly Latino, slightly ostentatious. The guy anyway doesn’t get it. There was something completely wrong about him. It was hard to find a balance with his face and makeup and visual effects and to give him a costume which was as strong as that. It was difficult and it took a long time. I thought it was my most difficult costume.

How do you start the process of designing costumes?

At first I discuss with director. When I know what the director wants I start sketching. When I have different sketches I show them to the director. He gives me first ideas what appeals to him. Then I have time with actors. After that we have selection, fitting, looking alike and little by little we get to the costume. It is like a circle. You go round and round and round and finally you reach the middle.

Where did you look for inspirations for Bond suits?

Everywhere. For ‘Skyfall’ French director Jean-Pierre Melville and Sam Mendes inspired me. For ‘Spectre’ I thought about 1930’s, romanticism, Humphrey Bogart. I wanted white tuxedo. Then I started thinking about Sean Connery. I always look at Sean Connery. What would Sean wear? I wanted ‘Spectre’ to be completely different. I was thinking about Bogart, the train, the Tangier. That is why I put Lea (Seydoux) in 1930 dress. The light was also very different with Hoyte (van Hoytema), more romantic. He also explored different filters.

What is the experience from film set that you have still in your mind?

When Sam Mendes saw the dress he said: ‘I am going to start filming with her back to the camera’. He understood how he could use that. It was wonderful to work with director who new how to use what I gave him. ‘Skyfall’ was incredible cinematographic experience for me. Everybody has different feeling for each film. I thought that ‘Spectre’ was wonderful film to design and to make, but for me ‘Skyfall’ was cinematographic experience that really touched me.

What is your favourite scene from James Bond film so far?

The death of M in ‘Skyfall’.

Do you have any plans to work again on Bond film?

No, I am finished with Bond. I did two Bond films that were wonderful and took two years of my life. Now I am ready for new challange.

May 4th 2020

Interview with Andy Lister who has doubled Daniel Craig in ‘Skyfall’ and ‘Spectre’

29 Wednesday Apr 2020

Posted by Piotr Zając in Andy Lister, Skyfall, Spectre

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007, Andy Lister, interview, James Bond, Skyfall, Spectre, stunt, stuntman

Andy Lister is a stuntman who has doubled Daniel Craig in ‘Skyfall’ and ‘Spectre’. There is a number of blockbusters full of action in his filmography: ‘X-Men: First Class’, ’47 Ronin’, ‘Avengers: Age of Ultron’, ‘Kingsman: The Golden Circle’, ‘Solo: A Star Wars Story’ to name just a few. Andy Lister on Instagram: listersbox

Piotr Zajac (bondlocations): James Bond fans could see you in ‘Skyfall’ and ‘Spectre’ as Daniel Craig stunt double. It was amazing what you’ve done in these films. I’m always fascinated with great stunts. Not many people know when they see stuntman and when actor in a film. I would like to talk with you about your and other stuntmen performances, so more people would see how great is your work. That it is not just CGI, but real stunts.– Andy Lister and Piotr Zajac during the interview

You have been a stuntman for nearly 10 years?

Andy Lister: Yes, that is right. It was September 17th 2010 when I proudly graduated on to the British Stunt Register!

How did you become a stuntman?

I’ve studied a martial art called Wushu since I was young and was fortunate enough to earn a place on the British wushu team and represent my country in various martial arts competitions. Then in 2004, there was a production company asking around different martial art schools for people to audition for a film. My wushu coach Jon Staples put me forward for the audition. I found out that it was for ‘Batman Begins’ and they needed extras for the League of Shadows team. I was so excited!! Even though I was just in the background it was an amazing experience! Seeing the professional stunt men rehearsing and performing on set made me hungry to chase my dream to be a stuntman!! I had always wanted to be a stuntman from watching Jackie Chan movies, and now here I was experiencing it!! Blew my mind!! So when I was on that job I started talking to the stunt performers and they explained to me the process of how to become a stuntman in the UK. You have to complete 6 different sports from a specific selection, have days in front of camera as an extra, to teach you set etiquette and how the industry works and lastly a 5 minute video of you performing your skills to prove you can actually do them! The 6 sports that I chose were martial arts (wushu), Gymnastics, Trampolining, High diving, Scuba Diving and Rock Climbing. Each sport has a different level that needs to be achieved, for example scuba diving is dive master level or above, rock climbing was the Single pitch award and martial arts was brown belt or above etc. You then gather all your sport certificates, receipts from the extra days and 5 minute video off to the British Stunt Register, where they have a meeting a few times a year. They look through your case and if you meet their standard then you’re in! If not, they tell you what needs to be amended and you try again in the next meeting. That’s how I got onto the register back in 2010! It was hard training for sure, but it gives you the right mentality for the industry! It can be tough, but if you work hard it’ll be the best thing ever!

How did you get to do all these movies from your filmography? Did you have to go for auditions or someone was asking you to perform in them?

It depends. Usually when you first get on to register you make a personal page in the Spotlight British stunt register book. It’ll have your headshot, full body shot, action shot, height, weight, measurements etc and some of the skills you can do.The Stunt Register book gets passed between stunt coordinators, producers and directors. They look through the book and they say: ‘I need a guy who is 5’10” – oh, this one looks OK; similar size, can do the physical action we need, let’s bring him in’. They call him up:’ Hey, are you free? You are? Brilliant’. Then they come in for an audition to see their skills and also how they interact with the team. That’s usually how it goes. Or it can be word of mouth when performers recommend you to coordinators, or coordinators to other coordinators.

How did you get into the James Bond films?

My first ever movie was ‘X-Men: First Class’. On that movie I met Lee Morrison. He was doubling a badass character called Azazel. Whilst working with him, he recommended me to Gary Powell (Bond stunt coordinator). I met with Gary and auditioned for the movie he was working on at the time called ’47 Ronin’. I was lucky to get onto the movie and learned so much from everyone on that film! It really started my career off to an amazing start!! After filming had finished, Garys next job was ‘Skyfall’! He pushed production for me to come onto Skyfall with him and be Bond double! It was crazy! It was a dream come true!! It was also only my 3rd movie, I still had a lot to learn and by the end I had learned so much! Really made me the person I am today!! That was an amazing experience! It was tough, no doubt about that, but I wouldn’t change it for the world!!

We could see you in ‘Skyfall’ jumping on train, fighting on train and falling from the bridge. In ‘Spectre’ you were fighting in helicopter and jumping in Blenheim Palace. Did I miss anything?

From memory on camera I did the silhouette fight in Shanghai, Casino fight, some of the ending scenes in the fields and various other bits and bobs.

How many stuntmen double Daniel Craig?

There are quite a few! Lee Morrison, Jean-Pierre Goy and Robbie Maddison on motorbike. Mark Higgins, Ben Collins, Rob Hunt and Martin Ivanov were driving a car. Physical doubles were Ben Cooke, Bobby Hanton, James Embree, Gordon Alexander, Jean-Charles Rousseau, David Grant, Kai Martin and myself.

It depends on the scene really. If it’s a motorcycle stunt, car stunt or a fight, that will usually determine who will perform it. Different units will also sometimes have different doubles so two doubles may be filming on the same day.

You mentioned body shape. Do you have the same suits as Daniel Craig or maybe different with some inserts or something like that?

It is usually pretty similar. We have differently shaped heads but widthwise we are pretty similar. My frame is wider, but he has bigger muscles haha, so it usually evens out under the suit. But I think out of all of us I’m the one with the least similar body haha!

On a film set there is a director and a stunt coordinator. Is there also someone responsible for choreography of the stunt?

Yes that’s right, it was Roger Yuan on ‘Skyfall’ and Olivier Schneider on ‘Spectre’.

Do you perform stunts that they’ve created or do you discuss with them and co-create choreography of stunt fight?

Usually the fight coordinator has the idea of the overall fight and they work out the skeleton of it. If they need an extra move or something that will help, we add it. If they have the idea of crazy stunt that the person can’t do, they will adjust it. We try to bring their ideas to the performance on camera.

How long does it take to get ready to such big scenes like your fights in opening sequences in ‘Skyfall’ and ‘Spectre’? Do you train it before in the studio?

Yeah, for example on ‘Spectre’ the whole helicopter scene was choreographed and rehearsed a lot! We rehearsed countless, countless times with Olivier Schneider, his team (Yves & Patrick) and Rob Cooper with whom I did the fight. We started rehearsals in Pinewood studios in a steel frame simulating the helicopter. The fight team came up with the fight and Olivier filmed us performing it for the Pre-Viz. Pre-Viz is a previsualisation of the scene. It’s shot like the final shot in the movie so the stunt & fight coordinator can put their ideas across to the director. The director would have changes so we would add, change or take out various aspects of the choreography to fit with their plan for the scene. This process can take a long time, up to even the day of filming sometimes haha! Then from the studio rehearsals we flew out to Mexico! We went to rehearse in the actual helicopter we would be using on the day. The size was slightly different with the seat configuration, so we altered the fight a bit and rehearsed until we were all comfortable with it. Rob and I also tested out the rigging safety lines that would be attached to us while we were fighting on the outside of the helicopter, making sure we wouldn’t fly up into the rotor blades! Huge thanks to the riggers Marc Mailley, Tolga Keenan, Sam Trimming and Kev Lyons for keeping us safe up there!!! Then the next stage was testing up in the air! We did various tests to see how the helicopter reacted to us rolling around in it, us jumping on and off it, fighting on the side and making sure everything was safe! Gary Powell, Craig Silva and Olivier Schneider did such an awesome job in bringing that scene to life!!!

Were you doing those stunts in the helicopter over a group of extras?

The people directly underneath were created with CGI. There were people in the square just not under the helicopter… Just in case something would happen and the helicopter went down.

What did it feel like fighting in the air?

I loved it so much!! It was awesome! Total dream come true! Fighting on the outside of a helicopter!! It was one of the best moments in my career for sure!!!!!

You must have trusted the helicopter pilot a lot.

Oh yeah!! Chuck Aaron was awesome!! To fly a helicopter normally is difficult. To do it with two guys hanging on outside of it jumping up and down and a camera helicopter flying super close is next level difficult!!! Then on top of that add a few 360’s and barrel rolls and you got a dude with superhuman skill as a pilot!! Out of all the people in the world I trusted him with my life! In the movie there are actually two people playing the pilot. In the exterior shots Chuck Aaron was doing it. Back in Pinewood studios they filmed the interior on a gimble rig. We had a stunt guy (and also Bond double himself) Kai Martin play the part of the pilot for the movie. The Studio Gimble rig was the body of the helicopter put onto a special effects rig that rotated. We could then put Daniel and Alessandro Cremona inside safely and let them perform parts of the fight while the helicopter spun 360 degrees!

How are the dots for CGI placed on your face?

Usually they have an image where they should roughly place them, usually parts of the face that don’t move too much. They just put them on with either a brush, makeup pencil or small stickers that are glued on. For face replacement they use either dots, a rubber mask or facial prosthetics where they stick rubber segments onto the performers face so they look more like Daniel.

How long did it take to shoot the whole fight?

It took quite a while. We had a few days in Mexico and then I think it was a couple of weeks in Pinewood. I don’t remember exactly, but it was huge operation!

How was it with ‘Skyfall’ opening sequence? Did you also have preparations in Pinewood Studios?

That was another long prep! We started at Pinewood Studios in a rehearsal space and trained on mats with taped out sections to mimic the exact measurements of the top of the train. We went through several, several different versions with me fighting Damien Walters who was doubling Patrice. That went for a couple of months or so. Then we went out to Turkey and rehearsed on a stationary train. The top of the train was prepped specially for the fight with added grip and some sections with matting too. We then tested out the wire rigs that head rigger Diz Sharpe put in place to keep both us and the actors safe while the train was travelling at speed.

In ‘Skyfall’, before the fight, you jumped on the train. Was it also you on a motorbike?

No, that was the bike genius Lee Morrison. He did the motorbike stunt when he hit the bridge and then there was a cut. I then ran and jumped off the bridge with a special effects rig releasing the bike next to me. Timing was quite crucial as the train was speeding underneath, I had to time it so I landed on the right carriage and not end up missing it completely!

Did you have to jump few times?

I rehearsed it a few times for timing and camera, then they shot a few takes then that was it! I was on the train and the fight was on!!

I was always wondering how many times you had to repeat the scene with VW Beetles falling down from the train. I am sure it was not easy to get it ready for next shot.

There wasn’t that many from what I remember. I think it was only a couple of times. That was a pretty hectic sequence. I was in the excavator’s cabin and Mark Higgins was driving the Land Rover. I could see the arm smashing off all these cars in his direction and he was like a total driving ninja! Dodging each and everyone of them!! Then all the dust swallowed everything. I don’t know how he did it! Legend!

Was it you controlling the excavator?

Hahaha thankfully not! None of the levers I was pulling worked. The special effects guys did a great job controlling it all!!

Then you were climbing on the excavator?

No, that was Ben Cooke. I rehearsed it, but Ben did the shot on the day jumping into the train and then Daniel took over. Turned out great!!

When you were fighting on a roof of the train was it really so close to the tunnel?

On the rehearsals we got very close. We developed a good system. I was strangling Damien Walters who was doubling Ola Rapace and at some point he would his head slightly and could see the tunnel coming towards us. When he started to move to get out I knew that it was time to turn and duck! It looked close and it was pretty close haha! We also had people with horns in case we were getting too close though! As soon as we ducked, the roof of the tunnel was flying past us! So much fun!!

I can only imagine that, but for sure I wouldn’t be so brave. (both laughing) I’ve seen a documentry about Jackie Chan and how he was using different sounds during the fight to know where to expect kick or punch.

Yeah we use the same system! Let’s say there is one person fighting few people. Sometimes it’s hard to know exactly when they are coming in to attack if you can’t see them. However if they give a noise you know they are going to be right there in time for your next move. It is a great tool for timing! I have been lucky that I’ve been able to fight a lot of great performers! They’ve done it for years, so fighting them is easy, because they know about distancing and rhythm .

After the fight on the train you were falling down from the bridge. How did you film it?

he first day they shot that part of the scene was with a fake train carriage. It was only the top and then boxes all around. Daniel did a great reaction of getting shot and fell off the set and into boxes. The next day they shot the full fall with me. In the movie there is water under the bridge. However under the real bridge there are just rocks and trees 300ft below; not something that you would really want to fall into. The train was parked in the middle of the bridge and next to the ‘jump carriage’ there was a crane that stretched over the gap with wires attached. I remember in the morning of the shoot day, one of the extending stabilisers of the crane wasn’t working. So they spent some time trying to fix it and ended up having to secure it with scaffolding. It didn’t help my nerves haha! Then I got up on top of the train and my wires were attached. The day before when they were shooting Daniel it was full sunshine, but of course the day we were shooting the fall, it was cloudy, so we had to wait until the clouds would pass and there was full sun. I remember standing up there waiting for a break in the clouds, then finally it came!! Full sun! I got ready and Terry Madden started to count down from 6! We started from 6 so the helicopter could be timed in. I heard ‘Ready and 6, 5, 4, no, no, no, stop, stop, stop!!!’ clouds had come back over!! I think it that happened three or four times. Then Terry got down to ‘2’ and then ‘1, ACTION!’ and I jumped. I have to thank Diz Sharpe, Sam Trimming, Kevin Lyons and Peter Miles! They were the rigging team that kept me alive!!!

Was it only one take?

No, there were three takes. First time I jumped but I moved my arm. I remember Gary saying: ‘Don’t move your arm. You are supposed to be dead!’. Then I jumped a second time and that was fine. The third time was for luck, just in case and I think that was the one they’ve used.

Did you also have to wait between takes for the sun?

After the first take we had to wait a little bit. The second and third were pretty much straight away.

Was it like bungee jumping?

It was kind of like bungee jumping. I free fell for 70/80ft and then a goldtail device was used to slow my fall and bring me to a stop. The full height of the bridge was around 300ft. That was the first big fall I had done in my career and I think the biggest so far to this day.

Did you repeat it later?

I went bungee jumping on holiday. (laughs)

Did you have a chance to see how other scenes for Bond moves were filmed?

Not usually, when they film drama scenes we are rehearsing. We rehearse every day, usually from 8a.m. to 6p.m. We are on set during the drama scenes if the actor needs us there for stunt pads or a mat. Or if the crew are at height, sometimes we are there to help with safety.

How do you prepare for a stunt. Do you have your own warm-up, stetching routine?

I try and keep pretty flexible so it doesn’t take too long to warm up before a scene. If an actor is about to do something physical we will sometimes be called in to warm them up, fit a harness and answer any questions they have regarding the action. The warm up comprises of basic stretches to get the blood flowing and prepare them for the next shot. For example if they are doing a lot of kicks or low stances, leg stretching would focused on more etc. And the same can be said for myself. I like to get nice and warm and stretched out as much as I can before a take. Although sometimes that’s not always possible. An action scene can really take it’s toll on the body! They can last days, weeks or even months!! The fight on the train in ‘Solo: A Star Wars Story’ took many many months! Constantly warming up and cooling down between shots can cause injury! So I try and stay as warm as possible.

‘Spectre’ was your second and also the last Bond film you were in so far. You didn’t take part in ‘No Time to Die’?

No sadly I was busy on another movie ‘The King’s Man’ with Brad Allen. It was another great movie to work on and a great take on the spy genre!

Do you have any plans to return as Bond?

Haha It depends on who the actor is and the stunt coordinator but I would love to do another Bond in the future!

Who should be the next James Bond in your opinion?

Somebody who is 5’10”. (laughs)

Thank you for great stories and good luck with becoming James Bond again.

Interview with Terry Bamber – production manager on James Bond films.

22 Wednesday Apr 2020

Posted by Piotr Zając in Casino Royale, Die Another Day, Quantum of Solace, Skyfall, Terry Bamber, The Man with the Golden Gun, The World Is Not Enough, Tomorrow Never Dies

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007, Behind the Scenes, Casino Royale, Die Another Day, film set, interview, James Bond, production manager, Quantum of Solace, Skyfall, Terry Bamber, The Man with the Golden Gun, The World Is Not Enough, Tomorrow Never Dies

Terry Bamber is one of the luckiest James Bond fans ever as he got to work on 7 James Bond films with 3 actors who played 007. Amazing person with great personality, who agreed to tell fantastic stories behind the scenes of Bond films. It was marvelous experience to talk with Terry Bamber.

Piotr Zajac (bondlocations): First James Bond movie that you worked on was ‘The Man with the Golden Gun’, so it was quite a long time ago.

Terry Bamber: Yes, that was 1974. I just finished my A-Levels and I think, if I remember correctly, my dad was working at a Pinewood Studios on a Walt Disney film ‘One of Our Dinosaurs Is Missing’ and he said to me: ‘Right, it is time now you have done your education, let’s get you out and see if we can get you a job’. I was unbelivably lucky. He took me down the old main corridor in the old building and first office we went into was Claude Hudson’s office, who was production manager on ‘The Man with the Golden Gun’. Dad had known Claude for many years. As luck would have it the young man that had been the unit runner in the office had just received the union ticket which meant he could start next job as 3rd assistant director. So they were looking for a runner to start on the following Monday and I got offered the job. My dad had worked on the earlier Bond films and I’ve adored the Bond films and now I was given a chance to work on one. It was so exciting to meet Sir Roger Moore. Derek Cracknell was the assistant director, he knew dad for years. Very, very kind man. It was a marvelous experience.

Is it right that you were buying sandwiches for Sir Roger Moore?

Yes. On my first day I was told that Sir Roger Moore at that time used to like tap chicken sandwitches on brown bread at the end of the day. My first task that day was to go in queue by the restaurant where they made sandwitches especially for them. In those days we didn’t put anything on them like tissue or cling film or anything. I went alone to his dressing room and I think I was so nervous by the time I got there that my hands were shaking and my knees were knocking. I knocked on the door and I think an assistant opened the door and Sir Roger was at the back of the room. As he looked up everything went to jelly and sandwitches fell out of my hands and of course bread down. He said I supposed to be watching my figure. He was just a wonderful man. My dad had worked with him on lots of files. He worked on ‘The Man Who Haunted Himself‘ which was Sir Roger’s favourite film. Dad was the second assistant director on that. Sir Roger used to get him on various second units on ‘Persuaders’ and programs like that. He was wonderful actor and a great man.

Your dad was working on the first James Bond film, ‘Dr. No’?

Yes. At that time Pinewood Studios was a proper studio that had his own workforce, that was hired out to any film that was going to be made there. Dad was a prop man and worked either as a dressing prop, which was dressing the sets ahead of the unit going into a film or he was a standby prop, which meant that he would standby during the filming and deal with all the props that actors at background were using on a day of filming. I think he was a dressing prop on ‘Dr. No’ and ‘From Russia with Love’. On ‘You Only Live Twice’ I remember him taking my sister and myself to see the volcano set which was just the most amizing thing I’ve ever seen in my life. It was briliant.

Was it your first contact with the universe of James Bond?

No. My first real memory of it was the music, was hearing the James Bond theme. I think it was in 1965, the year after ‘Goldfinger’ came out. Dad was in Spain making a film called ‘Lost command’. We were in Madrid and we managed to buy Shirley Bassey’s single of ‘Goldfinger’ which we played non stop the whole time we were there. It is the music that blew me away, the James Bond theme that blew me away. The first James Bond film that I saw in a cinema was ‘Thunderball’. Obviously I didn’t catch up with ‘Goldfinger’ and ‘From Russia with Love’ and ‘Dr. No’ on a big screen until later. I think in late 60’s, early 70’s cinemas did like a double bill: ‘Dr. No’ with ‘Goldfinger’, ‘From Russia with Love’ with ‘Thunderball’. Brilliant films.

What were your other tasks on the set of ‘The Man with the Golden Gun’?

In those days it was mainly being in charge of getting call sheets round to everybody at the end of the day. Those days the call sheets were typed up on a stencil that was around the printing machine. It was a nightmare because stencils were always ripped somewhere and you had to try to ensure they were lined up, the ink didn’t splash across the page. That was always a nightmare. In those days you had to wrap in the studio by 5.30, so it was always a rush to get the call sheets all printed out by just before 5 and I had half an hour to go all around the studio to the post room, up to the telephone exchange, to make sure that everybody got the call sheet for the next day. Also on ‘The Man with the Golden Gun’ I’ve got a chance for the first time on the set helping up second unit with filming part of the opening sequence when Scaramanga was having a duel. I had to give Sir Christopher Lee a cue for him to go through and I was so nervous with that, but luckily Mr Lee said: ‘I don’t think I’m gonna need this cue now, I can see when I’ve got to go’. No matter what I’ve done ‘The Man with the Golden Gun’ was the thing that ment the most to me because I was only 18 and it was first James Bond film I’ve worked on. At the end of the film I was kept on to help sell off the props and costumes and everything and that was very exciting, but during that I managed to walk into a piece of wood which scratched my eye. Rather than waiting for an ambulance Mr Broccoli had sent his car down to pick me up with Roy, who was the driver, another lovely man. So I was taken to Wexham Park Hospital in Mr Broccoli’s Rolls Royce. And then funny enough I was invited for my first cast and crew screening of the film ‘The Man with the Golden Gun’ which was in November 1974. I had to pass my driving test so I could go. Luckily I passed it a week before the showing. It was shown in what was then Theater 7 at Pinewood Studios, which is now being renamed to John Barry Theatre in honour of John Barry. In 2014 I did a sort of one man show that was supposed to show how I did teaching and talking about my career to celebrate at that time my 40 years in the film industry and in fact my great love of John Barry’s music and the contribution that he made not just in James Bond films but to films like ‘Dances with Wolves‘, ‘Out of Africa’, ‘The Ipcress File’; marvelous, marvelous music.

I’ve heard a story that you had dinner with John Barry.

It was another ambarassing night. When we were doing ‘Die Another Day’ we were filming down in Rissington. Vic Armstrong was a second unit director. I’ve always wanted to do the gun barrel sequence. We had great standby team, so they built a little gun barrel which was operated on rope to pull down. I could do that opening walking across, turning, aiming, firing and saying: my name is Bond. They’ve arranged with a special effects team to have snow hoses ready, so as soon as I’ve finished saying that, they turned on the snow hoses on me and absolutely covered me in snow. I was wearing my one and only dinner suit and this night was the night that I was gonna go to Stoke Poges, because there was the Variety Club tribute to John Barry and I’ve been invited to that. I had quickly brushed my dinner suite trying to get it ready but it was stiff as a board by the time I got to the party. I am affraid I had rather lot of drink while we were there. We were raising money for the charity. One of the prizes was to have dinner with John and Laurie Barry. I sort of staggered over were Mr Barry was sitting. The first bid went up so I put my hand. It quickly went to 500 pounds so I didn’t bid for that anymore. Barbara Broccoli was sitting next to Mr Barry and everytime the bid went up she kept putting my arm up. So I ended up bidding 1750 pounds and won the dinner. I was thinking how to tell my wife about that when I went home. But it was a marvelous evening and we had a wonderful dinner with him, although Barbara kept calling me John Barry’s stalker. Everytime I went to say something she was stopping me so my wife had a great time with John Barry and I only occasionaly got to say something but he was wonderful man and his wife Laurie was very, very kind. I met them again several times after that because a great friend of mine plays in the English Chamber Orchestra which Mr Barry used to use for recording the soundtracks. So in 1999 when they would do a concert in Royal Albert Hall and also in Birmingham I got a backstage pass so I could go and sit at the rehearsal at the Royal Albert Hall. I bumped in Mrs Barry and she was very, very kind. Then my friend in the orchestra introduced me again to John Barry and we got to talking about ‘The Man with the Golden Gun’, which Mr Barry didn’t want to talk much about. I think he had very rushed time period trying to get that score together. I think it is a great score, but I don’t think it is one of his favourites. John Barry was just a genius of what he did. ‘On Her Majesty’s Secret Service’ has got every piece of music, it is simply magical. It just makes the whole film fantastic experience. It is not just visual, auraly you are having a great time as well.

Your next James Bond film was ‘Tomorrow Never Dies’.

Yes. I’ve worked with Callum McDougall on ‘101 Dalmatians’ which we filmed in 1996. When ‘Tomorrow Never Dies’ came out the miniatures unit was gonna go to the Rosarito tank in Baja, California. Callum suggested I could meet up with John Richardson, who was going to direct it and maybe go as his assistant director or production manager. I ended up going there as a production manager because there was an assistant director who would work on ‘Titanic’ and knew the studio. That was really exciting, because that was really my first trip across to America and I was having to go up to Los Angeles and doing deals with getting lightning and equipment. The studio manager of Rosarito was a lovely man called Charlie who had been there during ‘Titanic’. I ended up having James Cameron’s office. When they had finished we moved in and I ended using his office as my office, so that was quite nice. When you are doing the model unit or miniature unit you haven’t got the pressure of looking after actors and all the problems that would go with that. You could just really concentrate on the crew and getting the brilliant shots which they did. I think that the miniature work in ‘Tomorrow Never Dies’ is superb with the stealth boats and sinking of a frigat and everything. I really, really enjoyed it. I have to thank Callum for that. After that there was ‘The World Is Not Enough’ in which Vic Armstrong was second unit director. I’ve been filming out in South Africa on a film with Hugh Hudson called ‘I Dreamed of Africa’ with Kim Basinger. I got a phone call to find out if I would be interested in working on ‘The World Is Not Enough’. I said: ‘Of course, abslolutely I would be interested’. When I got back to England I had an interview with Vic and also Terry Madden who was Vic’s first. I’ve known Terry since 1975. I was his unit runner and he was a third assistant director on film for Walt Disney Productions called ‘Pit Ponies’, which now has became ‘Escape from the Dark’. So I’ve known Terry for long time. He is a great friend. So I worked on ‘The World Is Not Enough’. We had a wonderful sequence up in the Chamonix. We had the amazing chase on the river Thames as well. I think that ‘The World Is Not Enough’ is very underrated film. There are somem great stuff in the film. The boat chase for me is just fantastic.

Have you been working on all these sequences?

Yes. I was in Chamonix and then I was in charge with the second unit on the Thames. I don’t know if you have ever had a chance to see extended version of the boat chase on 2-disc DVD version. That is the one where I am in. I played this French waiter that had to jump up when the boat crashes through the restaurant and impacts into the Thames near the O2 building. Unfortunately the sequence was going so long and my acting was so bad they cut it out in the main film. It was great fun.

I think it was difficult to get permission to film on the Thames.

There were lots of negotiations. We had a wonderful location department and location manager called Richard Sharkey and Simon Marsden. I remember going to lots of, lots of meetings, especially with the O2 as well, because it was coming up to the year 2000 and that was all getting ready for the turn of the millenium. The boat chase was passing by the Houses of Parliament. I remember that one of members of parliament complained about the noise of the boats but he was told not to warry about it because it was James Bond film and he was great representation of the British around the world, so he was told to be quiet.

When you were filming in Chamonix the weather conditions were not good?

Yes, we lost lots of time. I think that sadly nearly 50 people were killed in various avalanches during the time we were filming there. So we had a lot of time that we had to stand the unit down and try to catch up the time afterwards. I think we had to shoot 10 days in a row if the weather stayed well and obviously make sure that the crew got rested and were looked after, but the weather was very ugly when we were there. I don’t know if you remember that the week after we finished filming there was this terrible fire in a Mont Blanc tunnel, which killed many, many people. It was very tiring time, but the French people vere lovely looking after us. I remember that crew were desperate for English sausages, so we had to keep trying to get people to bring sausages with them whenever they came from Pinewood Studios to Chamonix. There was a time I think, that Virgin trains had just started and on the Virgin trains they had this people called Rocket Men that had dispensers that could dispense hot tee or hot coffee or hot chockolate walking around the trains. We thought that we could use it for our skiers. We got a team to help with catering going around with some very good skiers, local skiers with this Rocket Man bags on their backs and they could go to where the different cameras were, where people were set up and make sure that people got hot soup and water. That worked very well. But that were very tiring conditions. We had some very bad weather there, but as always we got lucky when we needed to get lucky.

Your next film was ‘Die Another Day’.

We shot the opening sequence with hoovercrafts on the army training grounds in Aldershot in a very bad weather conditions. I’ve never seen mud like that. In fact it was so, when the main unit were doing close ups with Pierce. It all was supposed to be shot on location, but the weather was so bad that we had to shoot plates for it and then shot it back in the studio. I think that is the great thing, the great art of production designers like Peter Lamont with all the Iceland sequence. He recreated all those icebergs in RAF land base in Rissington. I don’t think you can tell the difference between the real Iceland where we shot and Rissington. Peter Lamont was just briliant man like Ken Adam. Both Ken and Peter Lamont helped my dad in his career so much. They were both geniuses and lovely people to work for. My dad had always wanted to be an assistant director and he was working as prop man on ‘Chitty Chitty Bang Bang’ on which Ken was production designer. I think Peter was set decorator or art director. They gave dad a chance to work as an assistant set decorator which ment he got a union card. Once he got his union card that meant that he could work as an assistant director. He did some work on ‘Chitty Chitty Bang Bang’ as the assistant set decorator then went in the another film where he worked as an assistant director and then came back onto ‘Chitty Chitty Bang Bang’ to work on the opening sequence of the motorcar races which Peter Hunt directed. He was brilliant editor of the early Bonds and of course the director of my favourite all time Bond ‘On Her Majesty’s Secret Service’.

There was a funny story with your pass that you got while filming ‘Die Another Day’ on Iceland.

Toby Hefferman who is now a very good first assistant director was a second assistant director when we were doing ‘Die Another Day’ on Iceland. To make sure that everybody was kept safe on the ice we issued passes which gave access on the ice during filming. He put down on my pass that my job was ‘ice cream man’, because they were determined not to let me on the ice because I was always slipping over and falling over. Everybody knows that I love ice creams. I’m always trying to organize ice creams on set. That is why they put me down as the ‘ice cream man’ rather then the production manager. That was a joke from Toby and Terry Madden, who was the first.

Did you have any problems with filming on ice?

We were very lucky with ‘Die Another Day’. When we were due to go to Island to do the chase the lake hadn’t frozen properly. We were all worried that it was not going to freeze enough and be solid for us to actually go there. We had to go to Alaska one weekend to do a recognition to see if we may have to move all shoot there. Luckily the ice did freeze so we were able to go to Iceland, but on the last day of filming on the lake began to melt. We just had enough time to do what we needed.

Piotr Zajac (bondlocations): After ‘Die Another Day’ you were working on ‘Casino Royale’ with Daniel Craig as Bond. It was not the first time you met him on film set?

Terry Bamber: I was working in KwaZulu-Natal in South Africa with Hugh Hudson and Kim Basinger on a film called ‘I Dreamed of Africa’ and that was the first time I met Daniel. He had a part in it. It was hilarious because we were all staying in different lodges around the place and Daniel’s car was always getting lost. There was a wonderful American sitcom called ‘Car 54, Where Are You?’ in the 60’s. We put on a call sheet ‘Daniel Craig’s car 54, where are you?’. Daniel used to play football at lunchtime. We all used to play with locals. It was a great experience. In fact I doubled Daniel in that film. There was the sequence where they were battling to capture a python and my wife doubled Kim Basinger and I doubled Daniel. You could see my wife in it doing the action, but you couldn’t see me. That was dangerous scene. The snake was curling around legs, it was close around me, so it was a bit scary. Great adventure.

How do you remember working on ‘Casino Royale’?

We shot the opening scene in the Bahamas with the free running. It was so exciting. We got some of the best shots ever because we had wonderful, beautiful turquoise blue Bahamas scene in the background when they were jumping from crane to crane. I was actually lucky enough to be part of it. It was amazing.

I think that it was quite difficult to do that stunt because of the height as I’ve seen in a documentary about filming that scene. When the stuntmen were jumping from one crane to another is was windy.

I don’t rember if we had to postpone it for a day or two. When we were doing the aerial photography, I am pretty sure, we shot that on Sunday and we tried to shot with as minimum crew as possible. We had wonderful Mark Wolff who was the helicopter pilot. There were lots of complications. Unfortunately we managed to get rid of two cameras in that sequence. I don’t know if you remember when Bond turns and shoots into bulldozer. The first time we did it we built protection for the cameras but somehow something broke through and we smashed up one camera. We had to do it again the next day. We promised Barbara and Michael that we knew what we were doing. You wouldn’t belive it, it couldn’t be more protected if we were trying to protect the Queen, but one piece of metal or something broke off, shot through the only possible gap it could get through and smashed up the second camera. In the Panavision they weren’t very happy with this and neither were in the main office back in London.

Did you really destroy the building where you were filming opening sequence?

We didn’t really destroy it. We built break away pieces, so we could rebuild it for take two etc. I still don’t know what has happened to that building. I think they were gonna turn it into a police academy and then they stopped it which was why we had the access and we were there. In fact this time now I was probably in the Bahamas 14 years ago while we were setting up for and getting ready for filming.

Do you remember any other interesting facts from the time you were filming ‘Casino Royale’?

We got to shoot Pendolino train flying through the station. We shot the real train going pass the real station with the second unit. The day we shot it was the day when West Ham were playing with Liverpool in a FA Cup final. It was heartbreaking because we’ve lost on penalties to Liverpool. I’ll always remember that because we’ve set it up and we went back to watch some of the fotball because the train wasn’t due to go through until much later that day. We saw some of the football and went back to actually do the shot. So I was very fed up that day. Whenever I see ‘Casino Royale’ that shot with train going by always reminds me how sad it was when West Ham lost to Liverpool.

While watching ‘Casino Royale’ I was wondering how did you film scenes with collapsing building at the end.

The visual effects team did all the plate work. There were Steve Begg and of course Chris Corbould, special effects team. We shot actual sinking house, other than the model that we did in Pinewood, in a tank on 007 stage. I had to go on set to talk to Martin Campbell and I didn’t want to interrupt the filming, so I went at the back of the set. I slid in a scaffold and ended up falling in the tank. Several special effects people had to rescue me because I was not the world’s greatest swimmer.

The whole sequence with sinking house is absolutely stunning. In the plane chase when the 747 is comming into land and it blows the police cars off that is also the combination of special effects art department and visual effects. You can not see any of rejoints. Your suspension or disbelief is held all the way through because you don’t get disrupted, you don’t think: ‘oh, this is a model shot, oh this is CGI’ because it is so briliantly put together. For me that is what true visual effects and computer imaging should be. You shouldn’t think: ‘oh, that is just computer’. You can’t avoid it on film like ‘Transformers’ and all films like that, but on a film like we’ve done where we tried to do everything in camera it was just perfect.

After ‘Casino Royale’ you’ve worked on ‘Quantum of Solace’. There was great opening sequence with car chase filmed at the Lake Garda and Carrara in Italy.

At the Lake Garda we had to close the road. We had to shoot on one side of the road first and then shoot on second side. We kept one road opened for people getting in and out of town. We also had to arrange for ferry to take people in and out of town. Unfortunatelly there was an accident when one of the Aston Martins crashed into the lake. We were setting up for filming and the driver was bringing the Aston Martin for photo shoot. I think it was raining that morning and he lost control on a bend but luckily he hit the barrier. In fact the barrier speared the Aston like it did in the film with the lorry and the car and it flipped backwards over the barrier into the lake. The car hit the water upside down and sank to the bottom. The driver told me the story that it was like James Bond sequence. It must have knocked him down slightly. When he came round he was upside down. It was pitch black. He had to get seatbelts off then his jacket that he was wearing. Luckily the window had smashed so he was able to get out and swim up, because it was only 150 ft. deep there. By that time people were there to rescue him. I can remember that it happened 28 minutes past 6 that I heard about the accident because I thought that it would be another insurance claim, but fortunatelly it wasn’t that bad. I think he had a broken collarbone and had some stitches on his face. It was quite an amazing story how he survived, but that was nothing to do with us. He was doing a publicity shooting arranged by Aston Martin and wasn’t part of filming. There was also an awful accident with a stuntman that happened while we were filming. We had the Medivac standing by that could fly the stuntman directly to hospital. He was in a coma for a long while. It showed again that Barbara and Michael were fantastic there, making sure that we looked after the family, they went to visit him to make sure that everything was OK. It was quite a horrible moment when that happened.

There was an interesting story with Barbara Broccoli going for shopping.

It was on a day off, when I was going to hospital to see the injured stuntman and Barbara said that she wanted to go as well, but she had to do some shopping first. I said: ‘OK, let me know when you are ready and I will drive down with my driver and we will pick you up’. Unfortunately that day there was something going on in Carrara town so they closed all the roads around. Trying to find her was quite difficult. When I found her she had been walking for about half an hour with about six carrier bags of shopping. When I’ve found her I said: ‘I’ve got you, I’m here now’. She hit me and attacked me with the shopping bags and called me with all the names under the sun. At least she got her shopping. We put it to the car and drove up to visit the stuntman.

How did you shoot Palio in Siena?

The year before we actually went into production the Palio was recorded for real with I think 17 cameras. The year before we were filming ‘Quantum of Solace’ we got all the footage of horse racing, so we never actually had to shoot any of the racing when we went to Siena. We just recreated it with a crowd of about 300 extras. Within the square the art department built a hatchway for Bond and the villian to climb out of. That was built to suggest that they came out of the tunnels underneath.

When I was in Siena, I was trying to find the balconies that were used in foot chase sequence in ‘Quantum of Solace’.

The major problem we had in Siena were the cranes that we needed for the harnesses for the camera and to put on the stuntmen for the jumping from building to building. Siena was built on a web of tunnels under the streets and it ended up to cost us a fortune to bring extra cranes and put in a bases down to spread the weight of cranes so we didn’t crash through the steet and ended up underneath. Filming in Siena became very expensive. At one point we had talked about shooting the actual balconies sequencies on a set in Pinewood and then just getting the plates from Siena, but it was decided that we should do it actually in Siena. It is great sequence but very costly.

I couldn’t find these balconies, because they were not real. They were built just for filming, but I expected to see at least some extra holes or extra marks on walls where they were attached.

What we did, we had extra scaffolds in around it. Obviously we were not allowed to damage any of the buildings, so wherever possible we built scaffold in around so we didn’t dig any rigging into the actual framework of the building.

There was also the scene with James Bond jumping on a bus.

The jump on a bus was filmed in different location to the other balconies where they were going from roof to roof. I accidentally made a mark on a wall of one of the buildings which was very unfortunate because it was a very expensive building.

Which parts of that sequence were filmed in Pinewood Studio.

We built the tunnel for the chase in Pinewood and also the church tower. The bell tower. We had all the background plates from Siena that were added by visual effects team. I think it looks convincing, the combination of what we’ve shot and the great work of the visual effects team. I’ve only ever been able to be first assistant on a Bond film on very few days when Terry Madden was busy or he was doing something else. That tower sequence was one of the days when I was firsting for Dan Bradley and that was with Daniel. That was great fun.

In which sequences you were involved in ‘Skyfall’ ?

We did the opening sequence which we did in Istambul and Adana. Very small second unit went to Shanghai.

I thought that most of Shanghai scenes were filmed in London.

Exactly. It was like Miami in ‘Casino Royale’. A small unit went to get the establishes of Shanghai. The actual sequence when Bond was shooting and so on was done in the studio. In the old days on special TV programmes you would buy a little bit of footage of the city and you would put its name and then cut to wherever you were shooting on location in London or in a studio. At least now we always try to get some part of the location for real, so you realy do believe you are in there. It is a commond feature of filmmaking that rather than trying to take the whole first unit with actors to other country with all the cost it would involve, that you shoot them in the studio under control in safe conditions and the stunt team goes out to do all the hard work with the visual effect team to get plates we need to.

How did you film the opening sequence with motorbikes chase on rooftop in Istambul?

We had big scaffolding rig on which we put the video village so we could see what was being filmed. We’ve built some ramps there. There is a scene where they jump through the window. We had to build ramps to get bikes up. Obviously the art department and special effects would break the window for the boys to crush through there. There were hardly any safe ramps built along a rooftops for the boys that would actually ride in the bikes. There were some points where we had to reinforce but that was as much as possible done for real on that rooftop.

Do you have some interesting stories to tell not related to Bond?

I was working in India on ‘Ra.One’. We were filming in Mumbai. Shah Rukh Khan, whose company was producing the film, was the star. It is well known that Bollywood artists are very difficult to get on set very early in the morning. This particulat day Nicola Pecorini who was director of photography told me that I should tell Shah Rukh Khan off because everybody was ready to go and he was late. I said: ‘I can’t tell Shah Rukh Khan off’. Anyway Shah Rukh Khan arrives and Nicola says to him: ‘Terry is very upset with you. He kept the whole set waiting’. Shah Rukh Khan who had so many followers on Twitter decided to put there: ‘Our first assistant just shouted on me’. Within half an hour I received 300 death threats from his fans. Everybody decided that it was a great joke to play. Some of the stuntmen pretended to be fans trying to break into the studio. Shah Rukh Khan gave me his bodyguards with guns. The English camera crew being very brave put big sign with arrow pointing at me saying: ‘This one is Terry Bamber’. It was only towards the end of a day. Even my driver came up and said: ‘I can’t give you a drive back to the hotel Mr. Terry because I’ve got a wife and two children and we might get killed. Shah Rukh Khan finally decided to put on Twitter that I hadn’t really shouted and I was a nice person. Suddenly I got 300 new friends on Twitter after that. That was a hilarius day, very funny. I love working on Bollywood films, I love working with Indian crew. In fact one of my oldest friends is lovely man called Rajen Rajkhowa with whom I first worked in 1992 when we were doing ‘Young Indiana Jones’. He had worked as a sound assistand on ‘Octopussy’. He’s got some great pictures of him and on a set with Sie Roger Moore and everybody. Everybody loves working on Bond films. Everybody loves being involved in Bond films. It is a fantastic way of staying in touch with everybody around the world. It is something that is always part of my life. I can remember looking at the ‘You Can Only Live Twice’ volcano set as if it was yesterday and the impact it had on me. They are great films, great music.

April 2020

Interview for FilmQuest

08 Tuesday Oct 2019

Posted by Piotr Zając in IN MEDIA

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interview

Recently I granted interview about my travels to James Bond locations to FilmQuest: ‘The World’s Most Travelled Secret Agent’.

Interview in Radio ESKA Info Wroclaw

11 Saturday Feb 2017

Posted by Piotr Zając in IN MEDIA

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interview

Last week I was invited to radio ESKA Info Wroclaw to talk about traveling to James Bond filming locations. You can listen to the interview (in polish) here:

wroclaw.eska.pl/poznaj-miasto/wroclawianin-podrozuje-za-bondem-po-calym-swiecie-odslania-kulisy-filmow-o-slynnym-agencie

JAMES BOND

~ Behind the Scenes of James Bond

Tag Archives: interview

Interview with Kai Martin – stuntman who has played in 5 James Bond films

Interview with Julian Glover – villain Kristatos in ‘For Your Eyes Only’

Interview with Irka Bochenko, who has played in ‘Moonraker’ with Roger Moore

Interview with Jany Temime – costume designer for ‘Skyfall’ and ‘Spectre’

Interview with Andy Lister who has doubled Daniel Craig in ‘Skyfall’ and ‘Spectre’

How is it decided which one of you is doubling Daniel Craig in the scene?

Interview with Terry Bamber – production manager on James Bond films.

Interview for FilmQuest

Interview in Radio ESKA Info Wroclaw

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How is it decided which one of you is doubling Daniel Craig in the scene?

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