 years later.
Gregg Wilson In the script Bond is furious with her and practically drags her out of the car at the train station. It felt too brutal - why would Bond allow her to be in such a state of distress? We were very worried about that.
Daniel wanted the audience to feel that when they arrive at the train station they are both going to get on the train, so that it’s a surprise when they embrace and you understand that’s not going to happen.
When we did Bond’s close ups inside the DB5 at Pinewood, you can see Bond softening and his decision that, at least for a time, he will let her think that he believes and trusts her. Daniel’s performance in that moment is really incredible. We really feel for him.
Tom Cross Our overall editing brief from Cary was to focus on Bond’s character arc.
Elliot Graham So ultimately we concentrate on what Daniel delivers in his eyes. With them he grounds the scenes in a emotional reality.
Daniel Craig Actors are there to help the audience interpret the emotion of a story. My first film role was in The Power of One (1992), and I remember after my first scene the director John G. Avildsen saying that he loved the intensity in my performance. The problem was that I wasn’t acting, I was just scared shitless and he saw what he wanted to see in my eyes. I think it’s the same for the audience. The actors perform, but because of the story and the circumstances, the audience infers the emotions they think should be there.
Paul Duncan With the production dealing with several sensitive plot points, measures were taken. The “real” scripts had a limited circulation.
Gregg Wilson This is the first time we have had a fake script to keep elements of the story secret: Nomi is referred to as “001” instead of 007; references to Mathilde were removed; and after the missiles hit at the end Bond climbs out of the rubble, recovers, and then the final scene was written as Bond and Madeleine finding out that he had been knighted “Sir James Bond”.
Paul Duncan The real final scene has Madeleine and Mathilde in the Aston Martin V8 driving through Italy, with Madeleine telling her daughter about her father: “Once, there was a man…”. This was shot on the 007 Stage on October 1, with the car surrounded by giant LED screens displaying footage of the countryside. During filming Cary sat under Lisa-Dorah’s window, looking at her performance on a screen while talking to her.
At the movie’s climax, Bond fights his way to the control tower so he can open the blast doors.
Mark Tildesley I sketeched the control tower where Bond has to open the giant blast doors so that the rockets can strike and destroy all the poison. Cary said Bond must be phisically doing something, rather than pressing buttons, because he doesn’t want Bond to standing vacuously waiting for his death - he’s got to be fighting to save people.
Paul Duncan The death of Bond was completed on the 007 Stage on October 5, the date that Dr. No was released in 1962, with Bond looking out at the approaching missiles as he says goodbye to Madeleine over the radio.
Barbara Broccoli People were very emotional. Daniel’s a magnificent actor and it was an incredible scene.
Cary Fukunaga When I am shooting on a set I firstly figure out how to use it in the scene. If it is straightforward, I plan the actor’s movements and the camera position and explain it to the actors when they arrive. If it’s more involved, I will bring the actors on set before they go to hair and makeup and discuss it with them, so that we have time to rig the lighting and camera while they are getting prepped.
Linus Sandgren Bond is a professional and in control for a large part of film. We show this by being efficient with the storytelling and framing, anc connecting each composition using smooth dolly shots. It has a rhythm and flow and, of course, each shot needs to serve a purpose.
Paul Duncan On October 11, scene 125 is filmed in the afternoon. Bond and Felix are in the engine room of the trawler. The trawler set is so cramped that only the actors, camera operator, and stuntmen can fit. Cary walks in and out over a walkway to give direction, and then sits with Linus to see the camera images on three monitors.
Linus Sandgren We used a handheld camera when Bond is not in full control. Both in chaotic action sequences and when he is emotionally unstable, like when Felix is dying in the trawler, or when Madeleine and Mathilde are kidnapped by Safin.
Cary Fukunaga Bond and Felix have had a fight with rogue CIA agent Logan Ash, who is really working for Safin. Felix is shot, and they are trapped in the engine room, so the expectation is that they are going to find some way out. But Ash has planted a bomb before flying off with Valdo and the Heracles toxin.
Paul Duncan It’s a suspense setup, like an Alfred Hitchcock movie, where the audience knows about the bomb, but the characters don’t.
Cary Fukunaga But we don’t know when the bomb is going to go off. We see Bond taking care of Felix’s wound, but we want him to try find a way out.
Paul Duncan The first shot to be filmed is Felix sitting, propped up against a girder, an explosion goes off behind him and water begins to pour in. Chris Corbould, wearing a wet suit, takes Felix’s position to test that the effects work safely and correctly. They do. Everybody waits for the set to drain and dry before the first take.
Daniel Craig Each actor works in a different way. Often you will find that actors will work on a take, build up the emotion and tension, and it has nowhere to go when the director shouts, “Cut”. When Jeffrey and I were filming Felix dying, and he and Bond are effectively saying goodbye to each other, after a take Jeffrey said some obscenity to me to break the tension. Everybody laughed, the tension dissipated, so we could relax and then build the emotion for the next take.
Paul Duncan Fukunaga did a two-shot of Bond tending to Felix’s wound and then standing up. Then shot Felix with the bomb going off behind him, a reverse-angle on Bond and the bomb going off, and then another of Bond being blown off his feet towards camera.
Cary Fukunaga I was giving myself two different ways to edit it, depending on which one was most effective. So I can either have Bond turning around as he says his line and “boom”, or have Bond’s line followed by Felix saying: “What’s wrong with…” and “boom”. So it is about giving myself options for the filming and the rhythm when I edit this together with the scenes before and after.
Paul Duncan On October 25, day 122 of filming, the splinter unit worked at Longcross Studios during the day, and the main unit continued night shooting on the Cuba street on the North Lot. It was the last day of production.
Daniel Craig Everybody from the day shoot stayed over to be at the night shoot. It was emotional working on the last scene.
Barbara Broccoli It wasn’t just marking the moment of Daniel leaving the Bond series; it felt like a moment of tremendous importance in the history of cinema.
Michael G. Wilson It was a unique moment for all of us to experience. After the big shootout Bond runs down an alleyway with Valdo and just disappears. It is very symbolic.
After we shot it everybody was stunned. We couldn’t believe this was the end. Barbara was in tears, and I was chocked up. Daniel gave a nice farewell speech to everybody. People didn’t leave; they all just stood around talking, so sad to see him go.
Barbara Broccoli Daniel is the beating heart of the movie.
Hi all, quick answer. Long time ago someone had posted a supposed map of the Norway cabin based on speculations that were done (like different floors, rooms...) nothing official anyway. I can't find it anywhere, did someone saved that?
Oh man I loved this so much. Especially hearing Fukunaga talk about working with the child actors. His films always use children in such emotionally resonate ways, with "No Time to Die" being no exception.
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